Buffalo  Fine  Arts  Academy 
Albright  Art  Gallery 

anxa 

88-B 

20924 


Illustrated  Catalogue 
Department  of  Prints 

with  Introduction  and  Notes 


BUFFALO,  N.  Y. 

PUBLISHED  BY  THE  ACADEMY 
1905 


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J 


... 


‘ />->  * 


THE  ALBRIGHT 


THE  BUFFALO 
FINE  ARTS  ACADEMY 

ALBRIGHT  ART  GALLERY 


ILLUSTRATED  CATALOGUE 

COLLECTIONS  OF  PRINTS 

INTRODUCTION  AND  NOTES 

BY 

WILLIS  O.  CHAPIN 


BUFFALO,  N.  Y. 

PRINTED  FOR  FHE  ACADEMY 
1905 


CONTENTS 

INTRODUCTION.  The  Art  of  Engraving,  by  Willis 


O.  Chapin, ii 

Line  Engraving, 1 1 

Etching, 12 

Dry-Point, 13 

Mezzotint, 13 

Stipple  and  Aquatint,  14 

Wood-Engraving, 15 

Lithography, 16 

The  Printing  of  Engravings, 17 

Proofs,  States,  etc., 18 

The  Origin  of  Engraving, 21 


CATALOGUE 

PxART  I.  Historical  Collection  of  Prints,  presented 


to  the  Academy  by  Mr.  Willis  O.  Chapin,  . .23 

Engraving  in  Italy, 23 

Engraving  in  Germany,  35 

Dutch  and  Flemish  Engravers, 46 

The  Rubens  Engravers, 50 

The  Dutch  Etchers, 55 

Engraving  in  France, 57 

Engraving  in  England, 79 

PART  II.  Collection  of  the  works  of  Sir  Seymour 
Haden,  P.  R.  E.,  presented  to  the  Academy  by 
the  late  Dr.  Frederick  H.  James, 93 


PART  III.  Wood  Engravings  and  miscellaneous  prints,  120 


ACKNOWLEDGMENT 

The  Buffalo  Fine  Arts  Academy  acknowledges  its  obli- 
gations and  gratitude  to  Mr.  Willis  O.  Chapin,  the  generous 
donor  of  the  Historical  Collection  of  Prints,  for  his  valuable 
services  in  installing  the  prints  in  Galleries  4 and  6 in  the 
Albright  Gallery,  and  in  the  preparation  of  this  catalogue. 

Charles  M.  Kurtz, 

Director. 


Copyright,  1905,  by  The  Buffalo  Fine  Arts  Academy 


Buffalo  Fine  Arts  Academy 


OI'MCKRS  I'Ok  I'M).') 


Pl<  ESI  DENT, 

Vice-Pkesii>knt, 

Secretary, 

Treasurer, 


RALPH  H.  PLUMP 
S.  M.  CLKMKN  i 
ROHERT  W.  POMEROY 
JOSIAH  c;.  MUNRO 


DIRECTORS 

( I'o  serve  until  January,  l‘.K)6) 

GEORGE  CARY  WILLIAM  P.  LETCHWORTH 

S.M.  CLEMENT  GEORGE  H.  MATHEWS 

FRANK  H.  GOODYEAR  HENRY  A.  RICHMOND 

EDWARD  B.  GREEN  WILLIAM  A.  ROGERS 

GEORGE  P.  SAWYER 


(To  serve  until  January,  1907) 

JOHN  J.  ALBRIGHT  CHARLES  W.  PARDEE 


WILLIAM  H.  GLENNY 
M.  D.  MANN 
JOSIAH  G.  MUNRO 


RALPH  H.  PLUMB 
ROBERT  W.  POMEROY 
L.  G.  SELLSTEDT 


T.  GUILFORD  SMITH 


(To  serve  until  January,  1908> 

GEORGE  V.  FORMAN  JOHN  R.  H.  RICHMOND 

GEORGE  B,  HAYES  , PHILIP  S.  SMITH 

DUDLEY  M.  IRWIN  SAMUEL  S.  SPAULDING 

SPENCER  KELLOGG  HENRY  WARE  SPRAGUE 

R.  R.  HEFFORD 


STANDING  COMMITTEES 


FINANCE 

S.  M.  CLEMENT,  Chairman 

WILLIAM  H.  GLENNY  R.  R.  HEFFORD 

The  President  and  Treasurer,  ex-ojfficio. 


HOUSE  AND  GROUNDS 

CHARLES  W.  PARDEE,  Chairman 
EDWARD  B.  GREEN  HENRY  WARE  SPRAGUE 

The  President  and  Secretary,  ex-qfficio. 


ART 

J.  J.  ALBRIGHT,  Chairman 

GEORGE  CARY  GEORGE  B.  MATHEWS 

DUDLEY  M.  IRWIN 
The  President,  ex-officio. 


MEMBERSHIP 

GEORGE  P.  SAWYER,  Chairman 
M.  D.  MANN  WILLIAM  A.  ROGERS 

T.  GUILFORD  SMITH 
The  President,  ex-officio. 


ART  DIRECTOR 

CHARLES  M.  KURTZ 


Assistant  Secretary 
CORNELIA  BENTLEY  SAGE 


Buffalo  Fine  Arts  Academy 


HK  Buffalo  Fine  Arts  Academy  was  organized  Novem- 


ber II,  1862,  and  was  incorporated  December  4 of  the 


same  year,  “ to  promote  and  cultivate  the  fine  arts  and 
to  that  end  to  establish  and  maintain  in  the  City  of  Buffalo  a 
permanent  art  building  or  buildings  and  collections  of  paint- 
ings, sculpture,  engravings,  and  other  works  of  art,  an  art  library 
and  art  schools  adequately  equipped  and  having  courses  of 
instruction  and  practice,  and  generally  to  foster  art  in  all  its 
branches.  ’ ’ 

The  Academy  for  many  years  has  maintained  a public  art 
gallery  in  the  City  of  Buffalo,  and  its  acquisitions  of  art  works 
have  fairly  reflected  the  knowledge  and  taste  of  the  respective 
years  in  which  they  were  made.  Works  recently  added  to 
the  collections  exemplify  high  artistic  quality. 

The  new  and  palatial  art  building  provided  through  the 
munificence  of  Mr.  John  Joseph  Albright,  of  the  City  of 
Buffalo,  has  established  the  Academy  upon  a new  and  higher 
plane,  encouraging  higher  ideals  and  giving  largely  increased 
opportunities. 

The  art  school  associated  with  the  Academy  has  done  and  is 
doing  most  commendable  work.  In  the  advanced  classes  the 
standard  of  scholarship  is  high.  The  corps  of  instructors  com- 
prises artists  of  distinguished  ability.  The  fees  for  instruction 
are  extremely  moderate.  There  are  classes  in  drawing,  paint- 
ing, and  modeling  from  the  antique  and  from  life,  in  composi- 
tion, decorative  design,  metal-work,  wood-carving,  book-bind- 
ing, etc.  Scholarships  of  limited  number  are  awarded  to  stu- 
dents whose  work  shows  exceptional  earnestness  and  advance- 
ment. 


The  Buffalo  Fine  Arts  Academy  aims  to  form  permanent  col- 
lections of  Art  works  worthy  of  installation  in  the  palatial 
structure  provided  for  them,  to  conduct  the  art  school  in  accord- 
ance with  the  most  approved  methods  of  instruction,  and  to 
organize  an  art  movement  in  the  City  of  Buffalo  calculated  to 
reach  all  citizens  and  to  encourage  interest  in  and  study  of  art ; 
— this  through  frequent  special  exhibitions  (exemplifying  both 


* 


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PLAN  OF  THE  ALBRIGHT  ART  GALLERY 


native  and  foreign  schools  of  expression),  illustrated  lectures 
receptions,  entertainments  of  artistic  character,  the  publication 
of  a monthly  illustrated  Art  journal,  illustrated  descriptive 
catalogues,  etc.,  etc. 

With  the  growth  in  importance  of  the  art  collections  and  the 
extension  of  the  plan  and  scope  of  the  art  school,  conies  the 
need  of  larger  resources  for  carrying  on  the  work.  The  income 
from  invested  funds  is  inadequate  for  the  larger  efforts  of  the 
institution,  and  support  therefore  must  depend  to  some  extent 
upon  income  from  the  payments  of  larger  numbers  of  Fellows 
and  Ivife  Members,  and  the  annual  dues  of  Associate  Members. 


person  who  shall  contribute  to  the  Academy  the  sum  of  not  less  than  one 
thousand  dollars  may  upon  application,  become  a Fellow  of  the  Academy,  if  duly 
elected  by  the  Board  of  Directors.  ^ 

* who,  at  any  one  time,  shall  contribute  to  the  Academy  the  sum  of 

not  less  than  one  hundred  dollars  may,  upon  application,  become  a Life  Member  if 
duly  elected  by  the  Board  of  Directors. 

Any  person  may  become  an  Associate  Member,  if  duly  elected  by  the  Board  of 
Directors,  upon  payment  of  the  dues  prescribed  by  the  By-Laws." 

{Sections  3,  U,  and  6 o_f  Article  III  o/ the  Constitution.) 

The  annual  dues  of  Associate  Members  shall  be  ten  dollars,  payable  in  advance 
except  that  painters,  sculptors,  architects,  and  art-workers  elected  as  such  shall  pay 
annual  dues  of  five  dollars  in  advance." 

(^Section  2,  Chapter  VII  of  the  By-Laws.) 

**  All  Members  of  the  Academy  and  all  Honorary  and  Associate  Members,  shall 
be  entitled  to  free  admission  to  all  special  exhibitions  and  lectures  given  by  the 
Academy,  and  shall  be  entitled  to  a copy  of  all  catalogues  and  publications  of  the 
Academy.  In  addition  to  such  privileges.  Fellows  of  the  Academy  shall  be  entitled 
to  free  admission  for  all  the  members  of  their  immediate  family  residing  with  them 
and  for  their  non-resident  guests;  and  Life  Members  shall  be  entitled  to  free  admis- 
sion for  one  other  member  of  their  immediate  family  residing  with  them,  and  for  one 
non-resident  guest,  to  such  exhibitions  and  lectures." 

(Section  1,  Chapter  VII  of  the  By-Laws.) 


* * * 


The  Academy  will  be  pleased  to  receive  as  gifts  from  persons 
interested  in  the  success  of  the  institution  and  who  appreciate 
the  influence  of  good  art  in  the  aesthetic  — and  ethical  — ad- 
vancement of  the  community,  art  works  of  conspicuous  merit, 
art  books  for  the  reference  library  and  funds  to  aid  in  the  exten- 
sion of  the  collections  and  the  furtherance  of  the  work  of  the 
school. 

FORM  OF  BEQUEST 

GENERAL 

I do  hereby  give  and  bequeath  to  The  Buffalo  Fine  Arts  Academy,  a cor- 
poration organized  and  existing  under  the  laws  of  the  State  of  New  York,  the  sum 
of dollars. 

Bequests  also  may  be  made  of  works  of  art  or  other  property. 


SPECIAL 

I do  hereby  give  and  bequeath  to  The  Buffalo  Fine  Arts  Academy,  a cor- 
poration organized  and  existing  under  the  laws  of  the  State  of  New  York,  the  sum  of 

dollars,  and  I direct  that  said  sum  be  invested  by  said  corporation,  and  the 

income  thereof  used  for  (here  should  follow  the  special  purpose  for  which  the 
money  is  to  be  used  as,  “For  the  purchase  of  pictures"  or  " For  the  purchase  of 
works  of  art  which  shall  bear  my  name,"  etc.} 


ALBRIGHT  ART  GALLERY  — HISTORICAL  COLLECTION  OF  ENGRAVINGS 


INTRODUCTION 


THE  ART  OF  ENGRAVING 

I.INK  ENGRAVING 

Engraving  with  the  burin,  or  graver,  is  commonly 
called  “Eine  Engraving.”  The  burin  is  a triangular- 
shaped tool  with  sharp  cutting  edges.  With  the  handle 
placed  against  the  palm  of  his  hand,  the  engraver,  by  pressure, 
cuts  lines  of  gn^ater  or  less  width  and  depth  as  required.  The 
burin  line  is  pure  and  sharp  and  easily  describes  graceful  curves. 
Any  gradation  can  be  obtained,  from  bold,  broad  effects  to  the 
most  delicate  work.  Although  surpassed  by  mezzotint  in  soft- 
ness and  depth  and  in  harmonious  mingling  of  light  and  shade, 
and  by  etching  in  freedom  and  in  the  personal  character  of  the 
work,  and  in  certain  respects  by  other  forms  of  engraving,  no 
other  process  has  equaled  line  engraving  in  rendering  the  out- 
lines, contours  and  modeling  of  the  human  figure,  or  in  repre- 
senting textures  or  minute  details,  or  wherever  delicate  dis- 
tinctions of  tone  are  required.  Besides  burins  of  various  sizes, 
the  engraver  uses  a variety  of  other  tools  and  resorts  to  other 
processes  hereafter  described.  The  outlines  of  the  subject  are 
generally  first  traced,  or  etched,  upon  the  plate,  and  after  the 
burin  work  has  been  completed  greater  richness  and  delicacy 
may  be  obtained  by  using  the  dry-point.  The  method  of  ob- 
taining impressions  from  the  engraved  plates  is  hereafter 
described. 

The  process  of  line  engraving,  slow  and  laborious,  requires 
great  skill  and  knowledge,  both  in  cutting  the  lines  and  in  their 
arrangement  into  systems.  It  also  requires  infinite  patience ; 
the  mechanical  work  on  a single  plate  sometimes  extending  over 
a period  of  several  years.  Naturally  there  have  been  rules  and 
traditions,  often  too  servilely  followed,  as  to  the  best  manner  of 
accomplishing  certain  results,  and  the  conquest  of  mechanical 


II 


difficulties  has  often  led  to  coldness  and  to  the  neglect  of  artistic 
qualities,  especially  when  the  engraver  was  not  also  the  author 
of  his  design. 

Until  about  the  year  1820  the  plates  were  nearly  always  of 
copper,  but  since  that  time  steel  plates  have  often  been  used  to 
obtain  from  the  harder  metal  a greater  number  of  impressions. 
A modern  practice  of  covering  the  engraved  surface  of  copper 
plates  with  a fine  steel  facing,  by  an  electro- plating  process, 
accomplishes  the  same  result. 

The  engraver,  whatever  process  he  employs,  must  possess  a 
thorough  knowledge  of  drawing  as  well  as  manual  dexterity. 
Many  of  the  early  artists,  like  Diirer,  practiced  engraving  as  an 
original  art,  and  are  therefore  called  painter-engravers.  Early 
in  its  career  line  engraving  became  mainly  an  interpretative  art, 
and  a body  of  engravers  arose  who  devoted  themselves  chiefly  to 
translating  the  masterpieces  of  painting.  Although  the  art  still 
has  worthy  representatives,  it  has  been  to  a great  extent  super- 
seded by  etching,  and  by  the  photographic  processes,  being  in 
comparison  too  slow  and  costly.  The  masterpieces  of  line 
engraving  are  therefore  likely  to  remain  such. 

etching 

In  this  process  the  actual  engraving  is  not  done  with  a tool. 
The  lines  are  bitten  into  the  plate  with  aqua-fortis.  The  etcher 
first  covers  his  plate,  usually  of  copper,  but  sometimes  of  zinc 
or  other  metals,  with  a thin  coating  of  wax.  This  is  called  the 
“ground.”  Through  this  ground  he  draws  his  design  with  a 
steel  needle,  laying  bare  the  lines  upon  the  polished  surface  of 
the  metal.  Then  the  plate  is  covered  with  acid  which  attacks 
the  portions  exposed.  When  the  lines  which  are  to  appear 
faintest  in  the  impression  have  been  sufficiently  bitten,  these 
portions  are  “stopped  out”  with  varnish,  applied  with  a brush, 
to  prevent  the  further  action  of  the  acid.  “Rebiting”  and 
‘ ‘ stopping  out  ’ ’ are  repeated  until  the  lines  which  are  to  appear 
darkest  are  sufficiently  deep.  The  ground  is  then  removed  and 
the  plate  is  ready  for  the  printer.  There  are  various  modifica- 
tions of  this  process  which  it  is  unnecessary  to  describe.  The 
etcher  often  retouches  his  plate  with  the  graver,  or  finishes 
it  with  the  dry-point.  Etching  allows  as  much  freedom  as  pen 
or  pencil  drawing  and  avoids  the  slow,  laborious  work  of  the 


12 


line  engraver.  By  reason  of  its  rapidity,  freedom,  power,  precis- 
ion, and  the  personal  character  of  the  etched  line,  the  process 
has  been  practiced  by  many  great  artists  as  a means  of  original 
expression.  Painter-etchers  these  are  called,  to  distinguish 
them  from  those  who  employ  the  process  to  translate  the  works 
of  others.  Patching  is  also  much  used  in  combination  with  mez- 
zotint and  in  the  preliminary  work  of  various  processes. 

DRY-POINT 

The  work  known  as  “Dry-point”  is  done  by  using  a sharp 
needle,  scratching  into  the  copper,  and  without  using  etching 
ground  or  acid.  The  needle,  having  no  cutting  edge,  raises  a 
bur  on  each  side  of  the  line  which  imparts  a rich,  velvety  qual- 
ity to  the  impression.  The  process  admits  much  less  freedom 
than  etching.  It  is  employed  not  only  as  an  independent  pro- 
cess, but  is  much  used  in  combination  with  eiching  and  line 
engraving  to  add  richness  and  softness  to  the  work.  Owing  to 
its  fragile  nature,  the  bur  soon  wears  away  in  printing.  P)arly 
impressions,  “rich  in  bur,”  are  therefore  highly  prized.  Dry- 
point  has  been  called  “ mezzotint  in  line.” 

MEZZOTINT 

The  mezzotint  engraver  first  covers  his  plate  with  a very 
fine  even  bur,  made  by  the  “cradle”  or  “rocker,”  a tool 
having  sharp  teeth,  or  by  a special  machine,  making  a mul- 
titude of  indentations  in  the  metal.  This  is  called  “laying 
the  ground,”  and  if  the  plate  is  now  printed  from  it  will 
give  a rich,  uniform  black  of  great  depth  and  brilliancy  of 
tone.  With  the  “scraper”  and  “burnisher”  the  engraver 
proceeds  from  dark  to  light,  developing  his  picture  by  grada- 
tions of  tone  obtained  by  reducing  or  removing  the  bur,  or 
“ground,”  burnishing  the  plate  almost  smooth  where  a high 
light  is  wanted.  In  this  way  he  obtains  any  tone  or  gradation, 
from  the  deepest  black  to  the  most  tender  and  transparent  tints. 
In  addition  to  technical  skill,  the  mezzotint  engraver  must  pos- 
sess a knowledge  of  drawing  and  of  values  equal  to  that  of  the 
painter,  and  must  work  in  the  painter’s  spirit,  for  his  work  bears 
upon  its  face  the  evidence  of  his  artistic  skill  and  intelligence. 
Mere  mechanical  skill  can  accomplish  little.  The  process  is  not 


13 


adapted  to  subjects  which  require  pure,  sharp  outlines  or  great 
clearness  or  minuteness  of  detail  or  finish.  Etching  is  generally 
used  in  combination  with  mezzotint  to  impart  to  the  work  energy, 
precision  and  character,  the  main  lines  of  the  composition  being 
etched  before  applying  the  ground. ' On  account  of  its  extreme 
delicacy  the  bur  soon  wears  away  in  printing.  A plate  en- 
graved in  mezzotint  will  therefore  yield  a comparatively  small 
number  of  perfect  impressions.  The  engraver’s  work  can 
be  judged  only  from  early  impressions,  before  any  wear  has 
become  apparent.  The  process  has  been  chiefly  employed  in 
portraiture.  (See  chapter,  “ Engraving  in  England.”) 

STIPPEE  AND  AQUATINT 

Stipple,  or  dotted,  work  was  used  by  many  of  the  early  en- 
gravers, generally  in  combination  with  line  engiaving,  although 
sometimes  entire  plates  were  engraved  in  this  manner.  The 
dots  were  pricked  or  cut  into  the  plate,  or  laboriously  made 
with  a punch  and  mallet.  In  the  modern  method  of  engraving 
by  dots,  known  as  Stipple  Engraving,  practiced  chiefly  in 
England  in  the  latter  half  of  the  eighteenth  century  by  Bar- 
tolozzi  and  others,  an  etching  ground  is  first  laid,  and  the 
engraver  transfers  his  subject  to  the  plate,  making  the  outlines 
and  shadings  by  an  arrangement  of  dots  more  or  less  close  and 
delicate  as  required,  pricked  through  the  ground.  Acid  is  then 
applied  and  the  plate  bitten  in,  the  gradations  being  obtained 
as  in  etching.  After  the  ground  is  removed  the  plate  is  re- 
worked with  the  dry-point  and  stipple-graver  until  the  result  is 
satisfactory.  A similar  process  was  much  employed  in  the 
eighteenth  century  to  obtain  effects  resembling  chalk  or  crayon 
drawings. 

Aquatint  was  invented  as  a simpler  method  of  covering  a 
large  surface  with  dots.  The  engraver  first  lays  a “spirit 
ground”  or  “dust  ground.”  The  spirit  ground,  the  method 
generally  used,  is  made  by  covering  the  plate  with  a solution  of 
resin  and  spirits.  The  spirits  quickly  evaporate,  and  the  resin  in 
drying  granulates,  leaving  the  surface  of  the  plate  exposed  be- 
tween the  minute  particles.  The  dust  ground  is  obtained  by 
delicately  and  evenly  covering  the  plate  with  finely  powdered 
resin,  making  the  particles  adhere  by  applying  heat  to  the  back 
of  the  plate.  After  the  ground  has  been  laid,  the  subject  is 

14 


drawn  upon  the  plate,  and  the  different  shades  or  gradations  are 
obtained  by  a succession  of  careful  bitings  with  acid,  a difficult 
and  complicated  operation.  In  addition  to  the  ordinary  bitings, 
various  effects  and  contrasts,  especially  in  the  details,  are 
obtained  by  applying  the  acid  with  a camel’s-hair  brush,  technic- 
ally known  as  “feathering.”  The  outlines  of  the  subject  are 
often  etched  upon  the  plate  before  applying  the  ground,  as  in 
mezzotint.  Aquatint  is  suitable  for  subjects  requiring  broad, 
flat  tints  and  vigorous  contrasts  of  light  and  shade,  but  not 
minute  details.  Its  tones  range  from  excessive  depth  to  extreme 
delicacy  and  transparency.  The  effect  is  that  of  a drawing 
washed  with  sepia,  India  ink,  or  water-color.  Most  delicate 
color  effects  can  be  obtained  in  printing. 

Many  modern  engravings,  generally  of  doubtful  merit,  have 
been  produced  by  combination  of  several  processes.  There  are 
plates  in  which  etching,  burin  engraving,  stipple,  mezzotint,  and 
even  aquatint  have  been  combined.  The  flat  tints  and  parallel 
lines  are  often  made  by  a ruling  machine. 

WOOD-BNGRAVING 

In  the  forms  of  engraving  already  described  the  design  is 
engraved  by  incised  lines.  In  wood-engraving  the  portions  of 
the  block  left  in  relief  contain  the  design,  and  are  printed  from 
the  inked  surface  in  the  same  manner  as  type.  In  the  early 
days  wood-engraving  was  done  with  a knife  upon  apple,  pear,  or 
other  soft  wood  cut  the  plank  way  of  the  grain,  but  from  the 
time  of  Bewick,  the  latter  part  of  the  eighteenth  century,  wood 
engraving  has  been  done  with  the  graver,  and  upon  blocks  of 
boxwood  cut  transversely.  Early  wood-engraving  was  a fac- 
simile process.  The  artist  drew  his  subject  upon  the  block  and 
the  engraver  cut  away  everything  except  the  lines  of  the  design 
which  he  left  standing  in  relief.  Between  the  old  and  the  mod- 
ern methods  stands  the  work  of  Bewick.  If  an  impression  is 
taken  from  a block  prepared  for  the  engraver,  but  before  it  has 
been  worked  upon,  the  result  is  a uniform  black.  Bewick 
therefore  regarded  the  block  as  a black  surface.  He  cut  out  his 
lights,  translating  his  design  by  his  own  lines,  engraving  by 
white  lines  and  spaces  upon  a black  ground.  The  engravers 
who  followed  Bewick  reversed  this  arrangement,  treating  the 
block  as  a white  surface,  making  us  feel  that  they  created  the 


15 


blacks,  which  were  already  on  the  block.  The  modern  engraver 
represents  tones,  textures  and  effects  unknown  to  his  predeces- 
sors. Wood-engraving  has  been  almost  wholly  superseded  by 
the  photographic  fac-simile  and  half-tone  processes.  By  the 
process  known  as  Chiaroscuro^  much  practiced  in  Italy  in  the 
sixteenth  century,  color  effects  were  obtained  by  printing  from 
a number  of  blocks  successively,  one  for  each  color,  upon  the 
same  sheet  of  paper.  Color-printing  from  relief  blocks  as  now 
practiced  is  substantially  the  same  process. 

lithography 

Lithography,  although  not  a process  of  engraving,  as  there 
is  no  actual  cutting,  produces  results  in  many  respects  resembl- 
ing engraving,  and  may  be  briefly  described,  as  many  artists 
have  used  it  as  an  autographic  process  to  multiply  their  designs, 
and  have  produced  works  of  great  artistic  value.  A lithograph 
is  an  impression  taken  by  means  of  a printing  press  from  a 
crayon  drawing  made  upon  stone.  The  process  is  based  upon 
the  natural  antipathy  which  grease  and  water  have  for  each  other, 
and  the  facility  with  which  certain  kinds  of  stone  will  absorb 
either.  Upon  a special  calcareous  stone,  with  a prepared  surface, 
the  artist  makes  his  drawing,  using  a crayon  partly  composed  of 
soap.  His  crayons  are  of  different  degrees  of  hardness,  and  are 
capable  of  rendering  very  delicate  effects.  The  same  result  is 
obtained,  where  the  work  is  comparatively  simple,  by  drawing 
the  design  upon  “transfer  paper,”  and  transferring  it  to  the 
stone.  Additional  lights  or  white  lines  may  be  scratched  out, 
and  tones  reduced.  Great  scope  is  afforded  the  artist  as  to  the 
manner  of  obtaining  his  effects.  The  modifications,  details  and 
niceties  of  the  process,  however,  need  not  be  described  here. 
When  the  drawing  is  completed,  the  surface  of  the  stone  is 
covered  with  dilute  acid  to  destroy  the  alkali,  so  that  the 
stone  will  better  refuse  the  printing  ink  except  where  cov- 
ered with  lithographic  chalk.  This  is  technically  termed 
etchings  although  no  incision  is  made  in  the  stone.  Weak 
gum-water  poured  over  the  surface  fills  the  pores  and  pre- 
vents the  lines  of  the  drawing  from  spreading.  In  printing, 
the  surface  of  the  stone  is  wet,  the  water  being  rejected 
by  the  parts  covered  with  the  greasy  chalk.  A roller  charged 
with  printing  ink  is  passed  over  the  surface,  and  the  ink 

i6 


adheres  only  to  the  parts  drawn  upon,  being  rejected  by 
the  wet  parts.  Dampened  paper  placed  upon  the  stone  re- 
ceives, by  pressure,  an  impression  of  the  drawing,  and 
a very  large  number  of  impressions  may  be  obtained.  An 
impression  may  be  used  to  duplicate  the  design  upon  other 
stones.  A number  of  stones  is  generally  used  in  chromo- 
lithography, each  inked  with  a special  color,  although,  where 
speed  in  printing  is  not  an  object,  this  can  be  accomplished  to  a 
certain  extent  on  a single  stone  in  applying  the  ink.  Colors 
and  shades  maybe  obtained  by  combination,  for  example  green 
may  be  obtained  by  printing  yellow  upon  blue.  lithography 
was  invented,  or  discovered,  in  1792,  by  Alois  Senefelder  of 
Bavaria.  The  finest  lithographic  stones  still  come  from  that 
country. 

THE  PRINTING  OF  ENGRAVINGS 

In  printing  line  engravings  the  plate  is  inked,  and  the  ink 
then  rubbed  from  the  surface,  leaving  it  in  the  lines  only.  This 
also  applies  to  other  processes  where  the  design  is  represented 
by  the  incised  lines,  except  that  in  printing  certain  plates, 
mostly  etchings,  a thin  film  of  ink  is  left  upon  the  surface  of  the 
plate  to  soften  the  effect,  or  the  ink  is  brought  over  the  sides  of 
lines  intended  to  be  soft  and  rich.  Other  effects  are  obtained  by 
manipulation,  according  to  the  fancy  of  the  engraver  or  printer. 
After  the  plate  has  been  inked,  a sheet  of  dampened  paper  is  laid 
upon  the  engraved  surface.  The  plate,  properly  cushioned  to 
prevent  damage  from  undue  pressure,  is  then  passed  between 
steel  rollers  which  force  the  paper  into  the  sunken  lines,  thereby 
taking  up  the  ink  they  contain.  The  design  is  printed  from  the 
incised  lines  only.  Printing  engravings  is  by  no  means  a sim- 
ple process.  Great  skill  and  care  are  required  of  the  printer, 
both  in  inking  the  plate  and  in  the  amount  and  character  of  the 
pressmre  necessary  to  bring  out  the  full  value  of  the  engraver’s 
work.  Usually  the  engraver  prints,  or  superintends  the  print- 
ing of  the  first  proofs  until  a satisfactory  impression  is  obtained 
as  a model  for  the  printer  to  follow.  The  skill  of  some  of  the 
famous  printers  has  amounted  to  genius,  as  in  the  case  of 
Ramboz,  of  Paris,  to  whom  a century  ago  most  of  the  great  line 
engravers  of  Germany  and  Italy,  as  well  as  those  of  France, 
sent  their  best  plates. 


17 


Printing  in  colors  has  been  extensively  practiced,  chiefly 
from  plates  engraved  in  stipple,  aquatint  and  mezzotint. 
Sometimes  plates  are  made  for  each  color  and  the  colors  printed 
separately,  but  generally  a number  of  colors  are  used  upon  the 
same  plate  at  a single  printing.  Great  skill  and  taste  are 
required  of  the  printer  to  obtain  a satisfactory  result. 

The  character  of  an  impression  depends  greatly  upon  the 
paper  employed.  The  paper  upon  which  some  of  the  early 
engravings  were  printed  was  of  such  excellent  quality  that  it  is 
now  in  about  the  same  condition  as  when  the  impressions  were 
taken,  more  than  four  hundred  years  ago.  Both  ink  and  paper 
have  often  been  harmoniously  mellowed  by  time.  Holland 
paper  of  fine  quality  has  been  most  generally  used  on  account 
of  its  good  tone  and  printing  qualities,  and  as  being  durable  and 
easily  cleaned.  Japanese  and  India  (really  Chinese)  papers  are 
much  used  for  fine  proofs.  These  papers  are  mellow  in  tone, 
with  fine,  soft  surface,  and  yield  beautiful  proofs,  but  are  subject 
to  permanent  injury  from  slight  causes,  the  surface  being 
quickly  destroyed  by  handling.  Fine  proofs  are  also  printed 
upon  vellum  and  parchment,  and  sometimes  upon  satin,  but 
although  the  effect  is  often  very  delicate  and  luminous,  such 
proofs  are  very  difficult  to  print  and  to  preserve. 

In  printing  from  blocks  or  plates  engraved  in  relief, 
as  in  wood-engraving,  the  surface  or  projections,  only, 
receive  the  ink  and  are  printed  from  in  the  same  manner  as 
type.  In  printing  fine  wood-cuts  the  pressure  should  be  nicely 
adjusted  to  the  character  and  resistance  of  the  work,  giving 
little  to  light  parts  and  much  to  heavy  lines  and  solid  blacks. 
Printing  from  incised  metal  plates  is  a slow  and  laborious  opera- 
tion, while  the  chief  advantage  of  the  wood-cut  is  that  a large 
edition  can  be  printed  quickly,  and  along  with  the  letter  press, 
although  fine  proofs,  of  course,  require  more  consideration. 

PROOFS,  STATFS,  BTC. 

It  has  always  been  the  practice  of  the  engraver  to  take  im- 
pressions from  time  to  time  during  the  progress  of  his  work  for 
the  purpose  of  learning  the  exact  condition  of  the  plate.  These 
impressions,  taken  by  the  engraver  for  the  sole  purpose  of 
proving  his  work,  are  “proofs  ” in  the  proper  and  original  mean- 
ing of  the  term,  At  an  early  period,  however ^ the  engraver 

l8 


found  that  these  proofs,  in  addition  to  their  intrinsic  value,  were 
esteemed  by  the  connoisseurs  as  rare  and  curious,  and  on  account 
of  the  personal  interest  connected  with  them.  In  many  cases, 
as  the  plate  approached  completion,  a number  of  impressions 
were  printed  to  supply  the  demand  thus  created.  Even 
Rembrandt  is  known  to  have  yielded  to  the  temptation  to  create 
unique  impressions  for  his  ever-ready  customers.  The  practice 
of  taking  these  early  impressions,  at  first  resorted  to  only  to 
assist  the  artist  in  his  desire  to  obtain  perfection,  afterward 
developed  into  an  elaborate  and  artificial  system  of  “proofs” 
and  “ states,”  difficult  to  follow,  as  there  was  no  uniform  prac- 
tice, each  engraver  or  publisher  being  a law  unto  himself. 

The  condition  of  the  engraved  work  upon  a plate  at  each 
printing  is  called  a “state.”  Sometimes  the  difference  in  the 
actual  work  between  two  states  is  very  slight.  A large  propor- 
tion of  the  early  prints  had  no  lettering  of  any  kind  engraved 
upon  them.  Later  it  became  customary,  especially  with  the 
line  engravers,  to  engrave  elaborate  titles  and  inscriptions  upon 
the  lower  margins,  but  before  this  was  done  the  engraver  often 
took  a considerable  number  of  impressions  “before  letters,” 
that  is,  before  the  title,  etc.,  were  added  ; and  of  this  practice 
there  have  been  many  modifications.  Thus,  of  many  modern 
plates,  we  have  impressions  before  all  letters  ; with  merely  the 
artist’s  name  ; with  the  address  of  the  publisher  ; with  the  title 
in  traced,  or  open  letters,  etc.,  and,  finally,  with  the  full  inscrip- 
tion. The  impressions  in  the  earlier  states,  being  limited  in 
number  and  printed  with  especial  care,  are  often  called 
“proofs,”  although  the  original  meaning  cf  the  term,  as  we 
have  seen,  was  quite  different.  Each  change  in  the  work  upon 
the  plate,  or  in  the  inscription,  constitutes,  at  least  in  the  cata- 
logue, a “ state  thus  “ an  open-letter  proof  ” may  be  a third 
or  fourth  state.  If,  subsequently,  the  plate  is  altered  or  re- 
touched, this  would  make  still  another  state.  Other  modern 
refinements  of  this  practice  of  multiplying  states  are  the 
“remarque”  proofs  and  signed  artists’  proofs,  limited  editions 
intended  to  bear  upon  their  face  the  evidence  of  earliness  and 
excellence,  and  therefore  to  command  a higher  price  than  the 
ordinary  impressions.  The  “remarque”  is  a little  vignette  or 
appropriate  sketch,  usually  upon  the  lower  margin  of  the  plate. 
Its  origin  was  accidental ; lines  scrawled  upon  the  margin  by 

19 


the  engraver  to  test  his  tools,  or  his  own  skill,  or  merely  to 
amuse  himself,  not  having  been  burnished  out  before  proofs 
were  taken,  and  thus  affording  evidence  of  earliness.  Some- 
times some  detail  in  the  subject  is  purposely  left  unfinished. 
As  the  engraver  should  be  par  excellence  the  judge  of  his  own 
work,  his  signature  upon  a proof  should  be  the  highest  en- 
dorsement of  its  quality.  A practice  which  commends  itself 
is  that  of  ranking  all  experimental  impressions,  whenever 
taken,  as  “trial”  or  “progress”  proofs,  and  not  as  “states,” 
making  the  different  states  of  the  plate  expressive  of  the 
successive  printings  or  published  states,  and  of  a descending 
scale  of  quality  and  value,  real  or  conventional. 

Carefully  printed  impressions,  taken  before  the  plate  has  be- 
come worn,  before  the  lines  have  lost  their  sharpness,  are  mani- 
festly the  most  desirable.  While  this  necessarily  means  an 
early  impression,  the  required  degree  of  earliness  must  depend 
upon  the  peculiar  conditions  of  each  plate.  If  a few  impres- 
sions, oidy,  in  the  early  states  have  been  taken,  and  no  wear 
has  become  apparent,  later  impressions,  if  more  carefully 
printed,  may  be  better.  The  first  impressions  are  not  always 
the  best  ones.  A few  impressions  must  be  printed  before  the 
plate  will  take  the  ink  properly,  and  the  printer  must  become 
familiar  with  the  engraver’s  work  before  he  can  obtain  perfect 
results.  It  has  often  happened  that  after  a few  impressions 
have  been  printed  the  engraver  has  made  important  alterations 
in  his  work.  Impressions  in  the  early  states  are  generally  of 
greater  pecuniary  value  than  those  in  later  states,  even  if  no 
better,  on  account  of  their  greater  rarity.  Connoisseurship 
sometimes  esteems  this  quality  above  merit.  A strongly  en- 
graved plate  will  yield  a greater  number  of  perfect  impressions 
than  one  in  which  the  lines  are  fine  and  delicate.  The  works 
of  the  early  artists  were  as  a rule  delicately  engraved,  and  many 
of  their  best  plates  have  been  printed  from  until  late  impressions 
are  little  more  than  spectres.  The  number  of  impressions  taken 
also  varies  with  the  popularity  of  the  work,  and  modern  artists 
often  make  their  proofs  artificially  rare  and  valuable  by  destroy- 
ing their  plates  after  a limited  edition  has  been  printed.  An 
impression  which  adequately  represents  the  engraver’s  work 
must  be  an  early  one,  and  a good  one,  of  the  best  state  of  the 
plate  and  in  perfect  condition  of  preservation. 


20 


THE  ORIGIN  OF  ENGRAVINCi 


During  the  first  quarter  of  the  fifteenth  century  rude 
woodcuts  and  dotted  prints  of  bible  subjects,  and  of 
saints  and  martyrs  of  the  Church,  were  common  in 
Upper  Germany,  the  Uow  Countries  and  Flemish  provinces. 
The  earliest  examples  which  have  survived  do  not  ante-date  this 
period,  and  furnish  the  only  evidence  we  have  as  to  the  time 
when  engraving  for  the  pmpose  of  taking  impressions  upon 
paper  first  began  to  be  practiced.  The  rude  character  of  these 
prints  would  naturally  lead  us  to  conclude  that  the  art  was  in 
its  infancy  when  they  were  produced.  There  can  be  little  doubt 
that  relief  engraving  was  the  method  first  employed,  suggested 
by  the  familiar  practice  of  stamping  initial  letters,  signatures, 
designs  upon  playing-cards,  fabrics,  etc.  The  rude  pictures 
produced  in  the  convents,  and  circulated  in  the  interests  of 
the  Church,  were  without  doubt  the  true  beginnings  of  the  art 
of  engraving.  The  earliest  dated  wood-cut  of  accepted  authen- 
ticity is  the  well-known  “St.  Christopher  of  1423,“  discovered 
in  1769  in  the  library  of  the  Carthusian  convent  of  Buxheim 
in  Suabia.  It  is  now  in  the  new  library  at  Manchester,  Eng- 
land. Other  examples  for  which  earlier  dates  have  been  claimed 
have  been  brought  forward  from  time  to  time.  We  know  defi- 
nitely that  wood -engraving  was  practiced  as  early  as  1423.  How 
far  back  of  this  time  the  art  extends  is  a matter  of  conjecture. 

Engraving  upon  metal  plates,  for  recording  events  and  for 
ornamental  purposes,  was  practiced  from  time  immemorial. 
There  are  many  examples  of  ornamental  intaglio  work  of  the 
most  exquisite  design  and  workmanship  ante-dating  by  several 
centuries  the  Christian  era.  It  would  seem  that  the  idea  of  re- 
peating these  designs  by  taking  impressions  upon  paper,  or  its 
early  substitutes,  must  have  occurred  to  their  authors,  yet  until 
about  the  middle  of  the  fifteenth  century  there  is  no  evidence 
that  a single  impression  was  taken,  or  a plate  engraved  for  such 
purpose.  Printing  ffiom  metal  plates  engraved  by  incised  lines 
was  a development  of  the  goldsmith’s  craft.  The  earliest  im- 
pressions were  taken  by  the  goldsmiths  from  their  ornamental 


21 


designs,  to  prove  their  work,  or  as  curiosities  or  memorials,  be- 
fore their  completion  in  niello  ^ which  consisted  in  filling  the 
lines  with  a hard  black  enamel  to  bring  out  the  design.  Many 
such  impressions,  or  nielli^  are  still  preserved,  and  are  often  very 
beautiful  and  delicate  in  design  and  workmanship.  Out  of  this 
practice  arose  the  art  of  engraving  plates  expressly  for  print- 
ing purposes.  The  earliest  engravers  in  intaglio  were  gold- 
smiths. According  to  Vasari,  a famous  Italian  author  of  the 
sixteenth  century,  Maso  di  Finiguerra,  a goldsmith  of  Florence, 
was  the  first  to  take  impressions  from  these  ornamental  designs, 
about  the  year  1460.  Upon  his  authority  the  famous  Pax^  a 
work  of  great  beauty,  representing  the  Coronation  of  the  Vir- 
gin, and  attributed  by  him  to  Finiguerra,  was  for  a long  time 
believed  to  have  been  the  first  impression  ever  taken  upon  paper 
from  a design  engraved  by  incised  lines  upon  a metal  plate. 
Farlier  examples  of  nielli y however,  and  of  German  origin,  have 
since  been  found.  It  is  certain  that  soon  after  the  middle  of 
the  fifteenth  century  engraving  for  printing  purposes  became 
well  known  in  both  Italy  and  Germany,  although  the  Italians 
made  but  little  use  of  this  knowledge  before  the  last  quarter  of 
the  century,  by  which  time  the  art  was  already  well  advanced  in 
Germany. 


22 


CATALOGUE 


PART  I 

ENGRAVING  IN  ITALY 

The  Italian  engravers  excelled  in  their  delineation  of 
the  human  figure,  which  they  endowed  with  beauty  of 
form  and  expression,  the  result  of  their  study  of  classic 
art.  The  best  examples  of  their  works  are  characterized  by 
dignity  of  composition,  correctness  of  drawing,  and  by  sim- 
plicity and  grace.  Their  graceful  figures  are  in  striking  con 
trast  to  the  homely  models  of  their  German  contemporaries, 
who  excelled  them,  however,  in  technical  skill.  The  Italian 
engravers  devoted  themselves  chiefly  to  multiplying  the  de- 
signs of  contemporary  painters,  while  in  Germany  engraving 
was  practiced  by  original  artists.  From  the  point  of  contact 
of  the  two  schools,  typefied  in  the  works  of  Marc  Antonio 
and  Diirer,  dates  the  gradual  development  of  the  resources  of 
the  art. 

Among  the  earliest  of  the  Italian  engravers  were  Baccio 
Baldini  and  Antonio  Pollajuolo,  goldsmiths  and  engravers  of 
Florence.  Baldini  engraved  the  design  of  Botticelli,  who  also 
practiced  the  art  to  some  extent.  The  first,  how'ever,  whose 
works  possess  any  great  artistic  merit  was  Andrea  Mantegna. 

ANDREA  MANTEGNA,  painter  and  engraver,  one  of  the 
greatest  of  the  early  artists  of  Italy,  was  born  near  Padua  in 
1431.  From  humble  beginnings  he  rose,  through  art,  to  become 
a man  of  great  consequence,  receiving  knighthood,  and  number- 
ing among  his  friends  and  patrons  Lorenzo  de’  Medici  and 
other  famous  men  of  his  time.  For  many  years  IMantegna  lived 
in  Mantua,  in  the  service  of  the  Gonzaga  family,  for  whom  he 
painted  many  pictures  and  frescoes.  Toward  the  close  of  the 
century  he  went  to  Rome,  where  he  decorated  the  Belvedere 

23 


Chapel  in  the  Vatican  for  Pope  Innocent  VIII.  He  died  in 
1506.  Mantegna  was  one  of  the  earliest  of  the  Italian  artists 
who  practiced  engraving,  and  his  style  is  naturally  somewhat 
primitive  and  simple,  compared  with  the  work  of  his  German 


2.  Andrea  Mantegna  : Battle  of  the  Sea  Gods 

contemporaries,  who  had  already  become  expert  in  the  tech- 
nical processes.  His  shadings  are  made  by  parallel  lines  drawn 
diagonally,  with  very  little  cross-hatching.  Notwithstanding 
his  technical  inexperience  many  of  his  prints  are  spirited  and 
masterly  in  drawing  and  execution,  and  are  remarkable  for 
character  and  sentiment. 

1.  Triumphal  Procession,  Soldiers  with  Trophies.  — This  is 
one  of  the  rare  series  of  prints  engraved  by  Mantegna  from  his 
designs  for  the  “Triumphs  of  Caesar.”  The  paintings  for  many 
years  adorned  the  theater  in  the  Castle  of  Mantua,  where  the 
comedies  of  Terence  and  Plautus  were  performed,  and  are  now 
at  Hampton  Court.  When  the  prints  appeared  they  were  con- 
sidered to  be  the  finest  that  had  been  produced  in  Italy. 

2.  A Battle  of  Sea-Gods.  — Knvy,  holding  a tablet  inscribed 
“Invid,”  excites  the  marine  divinities  to  attack  each  other. 
Neptune  is  seen  from  behind  standing  on  a pedestal. 


24 


ZOAN  ANDREA,  who  flourished  in  the  latter  part  of  the 
fifteenth  century,  is  said  to  have  been  a rival  of  Mantegna,  and 
in  the  habit  of  copying  his  designs.  Very  little  about  him  is 
known.  His  career  must  have  extended  into  the  early  part  of 
the  sixteenth  century,  for  he  engraved  some  of  the  designs  of 
Diirer,  who  visited  Venice  in  1505. 

3.  The  Dance  of  Four  Women.  Bvidently  from  a design  by 
Mantegna.  This  rare  and  graceful  print  is  the  engraver’s  best 
work,  and  a fine  example  of  the  work  of  this  early  period. 

MARC  ANTONIO  RAIMONDI. — Marc  Antonio’s  name  stands 
foremost  in  the  list  of  the  early  engravers  who  translated  the 
works  of  other  artists.  He  was  born  in  Bologna  about  1488. 
After  studying  there,  under  Francia,  he  went  to  Venice,  where  he 


3.  Zoan  Andrea  : Dance  of  Four  Women 


was  attracted  by  the  wood-cuts  of  Albrecht  Diirer,  then  at  the 
zenith  of  his  fame,  and  reproduced  many  of  them  by  copper- 
plate engraving  so  perfectly  that  his  copies  were  often  sold  as 
genuine  works  of  Diirer,  a deception  which  rhe  Italian  engraver 
is  said  to  have  encouraged.  From  Venice  Marc  Antonio  went 


to  Florence,  where  he  engraved  his  fine  print,  “The  Climbers,” 
three  figures  from  Michael  Angelo’s  cartoon  of  the  “ Battle  of 
Pisa . ’ ’ About  1 5 1 1 he  went  to  Rome  where  he  became  Raphael  ’ s 
engraver.  His  best  works  were  engraved  from  the  drawings  and 
studies  of  Raphael,  under  that  great  master’s  personal  super- 
vision. These  show  classical  purity  of  outline,  grace  of  form, 
great  refinement  of  expression  and  delicacy  of  technic.  His 
success  consists  in  the  fidelity  with  which  he  translated  the 
spirit  as  well  as  the  forms  of  his  originals.  He  engraved  from 


5.  Marc  Antonio  Raimondi : Massacre  of  the  Innocents 


the  drawings  of  Raphael,  and  not  from  his  paintings,  which 
would  have  required  a more  varied  technic.  The  resources  of 
the  art,  as  a means  of  interpreting  the  tones,  textures  and  effects 
of  paintings  were  not  developed  until  more  than  two  centuries 
later.  After  Raphael’s  death  Marc  Antonio  engraved  only  a 
few  plates  of  exceptional  merit,  his  principal  work  of  this  period 
being  the  “Martyrdom  of  St.  Lawrence,”  after  Bandinelli.  Of 
his  numerous  portraits  that  of  the  poet  Aretino  is  a masterpiece. 
Upon  the  sack  of  Rome  Marc  Antonio  fled  to  Bologna  and 
disappears  from  history.  After  the  death  of  Diirer,  the  school  of 

26 


engraving  of  which  Marc  Antonio  was  the  founder  superseded 
that  of  Germany,  and  the  Italian  style  became  the  standard  of 
excellence  throughout  Europe. 

4.  Saint  Cecilia,  after  Raphael.  Impression  with  the  dark 
shadow  under  the  chin  of  the  saint  resembling  a necklace. 

5.  The  Massacre  of  the  Innocents,  after  Raphael.  First 
state.  This  print  is  considered  to  be  not  only  the  engraver’s 
masterpiece,  but  the  finest  engraving  of  the  early  Italian 
school.  The  original  drawing  by  Raphael  is  in  the  British 
Museum.  There  is  another  engraving  of  this  subject  with  a 
small  fir  tree  in  the  background  on  the  right.  It  was  long 
attributed  to  Marc  Antonio,  but  is  now  believed  to  be  the  work 
of  another  engraver.  Very  fine  early  impression. 

AGOSTINO  CARACCI,  painter,  designer,  engraver  and 
poet,  of  the  Bolognese  family,  famous  in  art,  was  born  in  1557. 
He  studied  engraving  in  Venice  under  Cornelis  Cort,  a Dutch 
engraver  in  the  employ  of  Titian.  Agostino  cultivated  a 
broader  style  than  that  of  his  predecessors  and  used  larger 
plates.  His  engraved  works,  from  original  designs  and  after 
various  Italian  masters,  are  numerous,  and  show  great  skill  and 
beauty  of  technic  and  singular  refinement  of  expression,  but 
lack  effects  of  chiaroscuro.  His  works  became  models  for 
imitation  as  those  of  Marc  Antonio  had  been. 

6.  Portrait  of  Titian.  This  bold,  picturesque  work  stands 
high  among  engraved  portraits.  It  is  dated  1587.  eleven  years 
after  the  great  master’s  death,  and  is  the  engraver’s  best-known 
work. 

STEFANO  DELLA-BELLA. — This  distinguished  artist  was 
born  in  Florence  in  1610,  and  died  there  in  1664.  At  first  he 
imitated  the  style  of  the  French  engraver  Callot,  but  afterward 
adopted  a manner  of  his  own  which  shows  his  peculiar  genius 
to  better  advantage.  The  works  of  these  eccentric  artists  are 
characterized  by  grotesque  humor  and  philosophical  spirit, 
show  almost  endless  variety  in  the  arrangement  of  their  numer- 
ous figures,  great  invention,  and  amazing  finesse  and  freedom. 
They  are  also  iniTeresting  for  their  picturesque  rendering  of 
architecture.  Many  of  them  are  of  great  topographical  and 
historical  value.  In  1640  Della-Bella  visited  Paris  and  engraved 


27 


some  important  works  for  Cardinal  Richelieu,  besides  making 
many  views  of  Paris. 

7.  View  of  the  Pont  Neuf . — Bngraved  in  1646.  The  engrav- 
er’s masterpiece.  An  interesting  comparison  is  afforded  by 
this  print  and  Callot’s  engravings  of  the  same  subject. 

ANTONIO  DA  TRENTO,  or  Antonio  Fantuzzi,  was  born  near 
Venice,  in  1508.  Upon  the  recommendation  of  his  master, 
Parmigiano,  he  abandoned  painting  and  became  an  engraver  in 
the  manner  known  as  “Chiaroscuro,”  by  which  effects  of  color 
were  obtained  by  printing  successively  from  a number  of  wood 
blocks  each  containing  only  a portion  of  the  design,  one  for 
each  color.  This  form  of  engraving  was  much  employed  to 
reproduce  the  drawings,  cartoons,  and  sometimes  paintings  of 
eminent  artists,  particularly  Raphael,  Parmigiano  and  Titian. 
It  was  a simple  form  of  a now  familiar  process. 

8.  The  Tiburtine  Sybil,  showing  the  apparition  of  the  Virgin 
to  the  Kmperor  Augustus.  After  Parmigiano. 

ANDREA  ANDREANI. — This  celebrated  engraver  was  born 
at  Mantua  about  the  middle  of  the  sixteenth  century.  At  an 
early  age  he  went  to  Rome,  where  he  devoted  himself  to  the  art 
of  chiaroscuro  engraving  on  wood,  becoming  one  of  the  fore- 
most engravers  in  this  manner.  His  works  are  numerous  and 
are  executed  in  a masterly  style.  He  died  in  1623. 

9-18.  The  Triumphs  of  Caesar. — A series  of  ten  plates  includ- 
ing title,  after  Andrea  Mantegna.  1598. 

GIAMBATTISTA  PIRANESI,  engraver  and  architect,  was 
born  in  Venice  in  1720,  and  died  in  Rome  in  1778.  He  was  an 
eccentric  genius,  indefatigable  in  his  zeal  and  industry.  His 
plates,  numbering  more  than  two  thousand,  are  mostly  of  large 
size,  and  represent  ancient  architecture  and  antiquities  of  Rome 
and  vicinity.  His  works  possess  great  artistic  merit  as  well  as 
topographical  value,  and  are  most  picturesque  in  arrangement. 
He  generally  etched  his  plates  in  a bold,  masterly  manner, 
finishing  them  with  the  burin.  Piranesi  has  been  called  the 
“Rembrandt  of  Architecture.”  He  was  made  a Cavali^re^'" 
by  Pope  Clement  XIII.  Many  of  his  plates  still  exist,  and  his 
work  should  therefore  be  judged  from  early  impressions. 

28 


The  following  examples  are  in  the  first  state,  on  thick  Italian 
paper,  and  were  printed  in  Rome  about  1770. 

19.  View  of  the  Colosseum,  Exterior. 

20.  Santa  Maria  Maggiore,  Interior. 

21.  Arch  of  Constantine. 

22.  Temple  of  Neptune  at  Paestum. 

23.  The  French  Academy  in  Rome. 


21.  Giambattista  Piranesi : Arch  of  Constantine 


RAPHAEL  SANZIO  MORGHEN. — This  distinguished  engraver 
was  born  at  Portici,  near  Naples,  in  1761.  After  studying  in 
Naples  he  went  to  Rome  and  became  a pupil  of  Volpato.  Mor- 
ghen’s  technic  was  soft  and  pleasing,  and  he  was  exceptionally 
fortunate  in  his  choice  of  subjects.  His  beautiful  engravings 
after  Italian  masters  placed  his  name  foremost  among  modern 
engravers,  in  the  popular  estimation,  and  his  prints  had  an  enor- 
mous sale.  Morghen  employed  eminent  draughtsmen  to  make 
the  drawings  for  many  of  his  important  works.  Although  some 
of  his  plates  will  always  stand  high  in  art,  he  cannot  be  classed, 

29 


either  as  artist  or  engraver,  with  such  masters  as  Bervic  and 
Longhi.  Morghen  was  honored  by  the  Art  Academies  through- 
out Europe.  Napoleon  invited  him  to  take  up  his  residence  in 
Paris.  His  death  in  1833  was  given  the  importance  of  a national 
event.  The  “illustrious  engraver  of  the  East  Supper”  was 
buried  in  the  church  of  Santa  Croce  in  Florence. 

24.  Aurora  With  Apollo  and  the  Hours. — Engraved  in  1792 
from  the  fresco  by  Guido  Reni  on  the  ceiling  of  the  casino  at 
the  Palazzo  Rospigliosi  in  Rome.  Trial  proof,  the  etching. 
From  the  collection  of  Nicold  Palmerini,  who  compiled  a 
catalogue  of  Morghen ’s  prints  up  to  1824. 

25.  The  Same. — Rare  early  state  before  the  inscription  on 
the  left  below,  “In  aedibus  Rospigliosis.”  After  many  re- 
touches impressions  were  again  issued  without  this  inscription. 

26.  The  Last  Supper. — Published  in  1800,  From  Leonardo’s 
famous  painting  on  the  wall  of  the  refectory  of  the  Dominican 
Monastery  of  Santa  Maria  delle  Grazie  in  Milan.  Probably  no 
other  engraving  has  equaled  this  in  popularity.  Morghen  is 
said  to  have  worked  nearly  three  years  upon  this  plate. 

27.  The  Transfiguration. — From  Raphael’s  painting  in  the 
Vatican.  Engraved  in  1 81 1,  and  dedicated  to  Napoleon.  From 
the  Palmerini  collection.  Trial  proof. 

28.  Francesco  di  Moncada.—  From  Van  Dyck’s  painting  in  the 
Eouvre.  Engraved  in  Rome  in  1793.  Before  the  cross-hatching 
on  the  cuirass.  The  engraver’s  principal  portrait. 

GIUSEPPE  LONGHI,  painter,  engraver  and  author,  was 
born  at  Monza,  near  Milan,  in  1766.  He  studied  under 
Vangelisti,  professor  of  engraving  at  the  Brera,  and  also  in 
Rome,  where  he  became  acquainted  with  Raphael  Morghen, 
then  at  the  zenith  of  his  fame.  At  this  period  he  gave  much 
attention  to  miniature  painting,  but  in  1798,  upon  the  death  of 
Vangelisti,  he  succeeded  to  the  professorship  at  the  Brera,  and 
thereafter  devoted  himself  chiefly  to  engraving.  He  rose 
rapidly  into  eminence,  becoming  one  of  the  great  masters  of  his 
art.  Under  his  direction  the  school  at  Milan  became  famous, 
and  to  Longhi  and  his  disciples  we  owe  many  beautiful  engrav- 
ings after  Italian  masters.  Longhi’s  famous  work,  “ La  Calco- 
grafia,”  published  at  Milan  in  1830,  shows  that  he  was  in  accord 


30 


with  the  best  traditions  of  his  art,  upon  which  he  was  one  of 
the  greatest  authorities.  He  died  at  Milan  in  1831. 

29.  Magdalen  Reading. — From  the  painting  in  the  Dresden 
Gallery  until  recently  attributed  to  Correggio,  engraved  in  1809, 
the  size  of  the  original.  Farly  impression  before  any  retouch. 
For  engraving  this  plate  Fonghi  received  six  hundred  zecchini 
(about  |i,5oo). 

30.  The  Marriage  of  the  Virgin,  Lo  Sposalizio. — The  original 
painting  by  Raphael,  in  the  manner  of  Perugino,  is  in  the  Brera 
Gallery  in  Milan.  The  drawing  for  this  important  work  was 
begun  in  1808,  but  the  plate  was  not  completed  until  1820. 

31.  Eugene  Beauharnais,  Viceroy  of  Italy. — Engraved  in 
1812-14,  after  Gerard.  Fonghi’s  finest  portrait. 

32.  Portrait  of  Washington. — Engraved  in  1817.  This  por- 
trait resembles,  somewhat  remotely,  the  Stuart  head.  The  hair 
is  engraved  in  imitation  of  that  in  Masson’s  portrait  of  Brisacier. 
Proof  before  all  letters. 

PIETRO  ANDERLONI. — This  eminent  engraver  (1784-1849) 
was  Fonghi’s  favorite  pupil,  and  his  successor  as  head  of  the 
school  at  Milan.  He  assisted  Fonghi  on  many  important  works, 
upon  some  of  which  his  name  appears  with  that  of  his  master. 
He  also  engraved  plates  of  exceptional  merit  after  Raphael, 
Titian,  Poussin  and  others. 

33.  Virgin  and  Child  Adored  by  Two  Angels. — After  Titian. 
Remarque  proof.  The  engraver’s  initials  are  traced  in  the 
margin . 

MAURO  GANDOLFI. — Gandolfi  was  born  at  Bologna  in  1764, 
and  was  at  first  a pupil  of  his  father,  but  afterward  studied  in 
Paris,  and  under  Sharp  and  Bartolozzi  in  England.  He  was  also 
influenced  by  the  work  of  Fonghi.  He  returned  to  Bologna, 
where  he  worked  until  his  death  in  1834. 

34.  Cupid  Sleeping. — Engraved  in  1820  from  his  own  design. 
Open-letter  proof.  ' 

FRANCESCO  ROSASPINA. — This  engraver  was  born  at 
Rimini  in  1762  and  was  a pupil  of  Bartolozzi.  He  worked  at 
first  in  the  dotted  manner,  but  afterward  in  line  and  aquatint. 
He  was  greatly  influenced  by  the  work  of  Morghen  and  Fonghi. 

31 


He  became  professor  in  the  Academy  at  Bologna,  and  died  in 
that  city  in  1841. 

35.  The  Dance  of  Cupids,  with  the  Rape  of  Proserpina. — 
After  Albano.  The  painting  from  which  this  beautiful  engrav- 
ing was  made  is  in  the  Gallery  of  the  Brera  in  Milan. 


35.  Francesco  Rosaspina  : Dance  of  Cupids 


PAOLO  TOSCHI. — Toschi  was  a very  distinguished  engraver, 
draughtsman  and  painter  in  water-colors.  He  was  born  in  Parma 
in  1778,  and  died  there  in  1854.  He  was  a pupil  of  Bervic  in 
Paris,  and  was  also  greatly  influenced  by  the  painter  Gerard, 
and  by  Longhi.  Returning  to  Italy,  he  became  professor  of  en- 
graving and  Director  at  the  Academy  of  Parma.  Toschi  achieved 
lasting  fame  by  his  reproduction,  by  engraving  and  water- 
colors,  of  the  injured  frescoes  of  Correggio  and  Parmigiano.  He 
engraved  other  important  plates  after  Correggio,  Raphael  and 
Gerard. 


32 


36.  The  Coronation  of  the  Virgin.— From  Correggio’s  fresco 
in  the  Church  of  San  Giovanni  Kvangelista  ; now  in  the  library 
at  Parma.  One  of  thirty-three  signed  remarque  proofs. 

37.  Madonna  Della  Scala. — From  a fresco  painted  by  Correg- 
gio on  the  wall  of  the  house  of  a friend.  It  was  removed  to  a 


37.  PaolaToschi:  Madonna  della  Scala 

chapel  consecrated  to  Santa  Maria  della  Scala,  from  which  it'was 
again  removed,  much  injured,  to  the  Gallery  of  the  Academy. 
Subscriber’s  impression,  on  india  paper. 

38.  Saints  Luccia  and  Apollonia. — From  Parmigiano’s  fresco 
in  the  Church  of  San  Giovanni.  One  of  thirty-three  remarque 


33 


proofs.  With  Toschi’s  autograph  inscription,  “To  my  friend 
Panizzi”  (Librarian  of  the  British  Museum). 

39.  Diana  in  a Chariot  Returning  from  the  Chase. — From 
Correggio’s  fresco  in  the  Camera  di  San  Paolo,  a room  in  the 
convent  of  Benedictine  nuns  in  Parma,  painted  for  the  Abbess 
Giovanna  di  Piacenza.  Trial  proof,  plate  nearly  finished. 
Engraved  by  Carlo  Raimondi  and  Paolo  Toschi.  Raimondi 
was  Toschi’s  favorite  pupil,  and  succeeded  his  master  as  head  of 
the  school  at  Parma. 

LUIGI  CALAMATTA. — This  eminent  engraver  was  born  in 
1802  at  Civita  Vecchia.  After  studying  engraving  in  Rome  he 
settled  in  Paris,  where  he  was  a frequent  exhibitor  at  the  Salon 
and  received  many  honors.  Returning  to  Italy,  he  resided  in 
Florence,  and  later  in  Milan,  where  he  died  in  1869.  He  was 
buried  in  his  native  town,  where  a monument  was  erected  to  his 
memory  by  public  subscription.  His  works  are  remarkable 
for  delicacy  and  softness. 

40.  Mona  Lisa. — From  Leonardo’s  famous  painting  in  the 
Louvre.  Open  letter  proof,  1857. 

PAOLO  MERCURJ. — Mercurj  was  born  in  Rome  in  1808  and 
died  in  Paris  in  1886.  He  possessed  great  technical  skill,  and 
received  many  honors  at  the  Salon.  In  1847  be  was  appointed 
professor  of  engraving  at  the  French  Academy  in  Rome. 

41 . Saint  Amelia,  Queen  of  Hungary. — After  Paul  Delaroche. 
Engraved  in  1841.  Open-letter  proof  with  dedication  in  the 
engraver’s  handwriting. 


34 


ENGRAVING  IN  GERMANY 


Toward  the  dose  of  the  fifteenth  century,  while  the 
Italian  engravers  were  still  struggling  with  the  me- 
chanical difficulties  of  their  art,  the  engravers  of  Ger- 
many had  already  acquired  a high  degree  of  technical  skill. 
The  religious,  mystical  and  romantic  features  of  mediaeval 
German  art  were  faithfully  reflected  in  contemporary  engrav- 
ing. While  the  artists  of  Italy  had  constantly  before  them  the 
examples  of  classic  art,  these  Gothic  artists  of  the  North  drew 
their  inspiration  from  the  stores  of  tradition  and  romance, 
national  legend  and  myth.  They  chose  their  models  from  the 
homely  scenes  around  them  ; from  the  only  types  with  which 
they  were  familiar.  But,  if  instead  of  graceful  outlines  and 
simple  surroundings,  we  often  find  attenuated  figures  in 
awkward  attitudes,  and  a superabundance  of  stiff  and  com- 
plicated draperies,  we  also  find  an  intensity  of  expression,  and 
an  abundance  of  ideas  characteristic  of  the  time  and  country. 
At  a later  period,  the  intense  national  character  of  German  art, 
to  us  its  greatest  charm,  disappeared  before  the  all-prevading 
influence  from  the  South. 

The  earliest  of  the  German  engravers  whose  works  were  im- 
portant was  the  “ Master  of  1466,”  so-called  from  a date  which 
appears  on  some  of  his  prints.  He  is  believed  to  have  been 
both  goldsmith  and  engraver,  and  to  have  worked  in  the  cities 
along  the  Rhine  and  at  the  Court  of  Burgundy.  His  style  is 
quaint  and  spirited,  and  his  technic  is  remarkable  for  delicacy 
and  precision.  Of  far  greater  importance,  however,  are  the 
works  of  Martin  Schongauer,  who  was  the  first  great  master  of 
the  school,  and  whose  prints  possess  all  the  characteristics  of 
early  German  art. 

MARTIN  SCHONGAUER,  the  first  great  master  of  the  Ger- 
man school,  was  born  in  the  Alsatian  town  of  Colmar  before  the 
middle  of  the  fifteenth  century.  Educated  as  a goldsmith,  he 
left  his  father’s  shop  to  study  art  in  Flanders  under  Van 
Byck’s  pupil  Rogier  van  der  Weyden.  About  1465  he  returned 


35 


to  Colmar,  and  died  there  in  1488.  Owing  to  the  long  neglect 
of  Gothic  art  we  know  little  about  him.  Many  of  his  best 
paintings  and  the  authentic  records  concerning  him  have  dis- 
appeared. His  personal  popularity  appears  to  have  been  great, 


42.  Martin  Schongauer  : The  Nativity 


and  his  work  highly  esteemed.  He  was  called  “ Martin  Schon,” 
or  “Hiibsch  Martin,”  and  was  known  in  France  as  “he  beau 
Martin.”  He  possessed  remarkable  inventive  powers.  There 
is  a subtle  charm  of  sentiment  and  tenderness  about  many  of 
his  subjects.  Raphael  and  Michael  Angelo  are  said  to  have 

36 


copied  some  of  his  designs.  In  drawing  and  technic,  and  in  the 
expression  of  his  faces,  he  far  surpassed  the  other  predecessors 
of  Diirer,  whose  fame  has  so  completely  overshadowed  the 
earlier  artists  of  Germany.  Schongauer  engraved  more  than 
one  hundred  prints  from  his  own  designs,  many  of  which  were 
copied  by  other  engravers.  His  works  possess  all  the  Gothic 
peculiarities. 

42.  The  Nativity.  The  Virgin  and  Child  are  adored  by 
the  Shepherds.  One  of  the  finest  and  most  decorative  of 
Schongauer ’s  works. 

ALBRECHT  DURER,  Germany’s  great  representative  artist, 
was  born  in  1471,  in  Nuremberg,  and  was  the  son  of  a Hun- 
garian goldsmith.  After  learning  the  goldsmith’s  work  he  was 
apprenticed  to  the  eminent  Franconian  master,  Michael  Wolge- 
muth.  He  made  rapid  progress,  and  in  1490  set  out  on  his  trav- 
els, according  to  custom.  He  was  absent  nearly  four  years,  and 
visited  many  of  the  German  cities,  and  possibly  crossed  the  Alps 
into  Northern  Italy.  During  the  period  from  1494  to  1505  he 
engraved  some  of  his  most  interesting  plates,  and  made  designs 
for  wood-cuts,  of  which  the  series  of  the  ‘ ‘ Apocalypse,  ’ ’ in 
design  and  execution,  marked  an  epoch  in  wood-engraving. 
His  first  important  painting,  “The  Adoration  of  the  Magi,” 
now  in  Florence,  is  dated  1504. 

In  1505  Diirer  journeyed  to  Venice,  where  his  fame  had  pre- 
ceded him.  The  Italian  engraver,  Marc  Antonio,  reproduced  by 
copper-plate  engraving  nearly  eighty  of  his  wood-cuts.  Diirer 
returned  to  Nuremberg  in  1507,  and  in  the  decade  which  fol- 
lowed he  was  at  the  zenith  of  his  powers.  Important  works 
followed  in  rapid  succession,  paintings,  engravings  and  designs 
for  wood-cuts.  He  also  wrote  treatises  on  Mensuration,  Propor- 
tion, Fortification  and  other  subjects.  In  1518  Diirer  went  to 
Augsburg,  and  in  1520  he  made  the  famous  journey  into  the 
Netherlands,  of  which  he  left  an  interesting  account  in  his 
Diary.  Upon  this  journey  he  met  his  famous  Dutch  contem- 
porary, Lucas  van  Leyden.  He  died  in  Nuremberg  in  1528.. 
Highly  esteemed,  both  as  man  and  artist,  he  numbered  among 
his  friends  and  patrons  the  Bmperor  Maximilian  I.,  Charles  V., 
Brasmus,  Luther,  Melancthon  and  many  other  famous  men  of 
his  time. 


37 


Although  among  the  foremost  painters  of  his  time,  Diirer 
was  even  greater  as  designer  and  engraver.  Upon  his  designs 
for  the  engraver’s  art  he  bestowed  the  wealth  of  his  imagination 
and  inventive  genius.  Quaint  and  archaic  in  style,  they  show 
Gothic  art  at  its  best.  Diirer  revelled  in  a deep,  subtle  philos- 


44.  Albrecht  Diirer  : Saint  Eustace 


ophy,  and  his  works  show  the  religious,  mystical  and  romantic 
features  of  the  Germany  of  the  Renaissance  and  Reformation, 
and  the  picturesque  character  and  feudal  spirit  of  the  age  of 
Maximilian. 

Diirer’s  skill  in  handling  the  graver,  in  vigor,  accuracy  and 
expression,  has  scarcely  been  surpassed.  His  technic  was  aie- 

38 


quate  to  express  his  ideas  in  the  most  forcible  manner,  but  the 
resources  of  the  art  had  not  been  developed  and  his  works  are 
naturally  deficient  in  effects  of  chiaroscuro  and  local  color,  and 
in  variety  of  technic.  His  subjects  often  lack  unity  and  con- 
centration, and  show  that  he  understood  imperfectly  the  laws  of 
perspective,  upon  which  subject,  however,  he  speculated  much. 

Diirer’s  services  to  wood-engraving  were  of  the  highest 
value.  He  found  the  process  devoted  to  inferior  designs  and 
practiced  by  unskilled  workmen.  Following  his  example, 
many  eminent  artists  made  designs  for  wood-cuts,  and  a body 
of  skilled  engravers  soon  arose.  Under  Diirer’s  patronage  wood- 
engraving became  one  of  the  most  popular  and  useful  arts  of 
the  Renaissance. 

Diirer’s  work  is  pervaded  throughout  with  his  high  intellect- 
ual powers,  moral  energy  and  reverent  spirit,  united  with  a 
strange  love  for  the  weird  and  grotesque,  the  picturesque  and 
romantic.  His  friend  Melancthon  has  testified  that  his  art  was 
the  least  of  his  merits  — laudari  a laudato  viro. 

43.  Melancholia. — Dated,  1514.  This  print  is  engraved  with 
intense  energy,  and  is  one  of  the  finest  works  of  the  master. 
Powerful  impression  of  silvery  tone.  The  winged  woman,  a 
picture  of  gloomy  meditation,  is  surrounded  by  the  implements 
of  art,  science  and  magic,  and  the  scene  is  weirdly  lit  up  by  a 
comet  and  rainbow. 

44.  St.  Eustace. — The  largest  and  most  elaborate  of  Diirer’s 
copper-plate  engravings.  Eustace,  or  Placidus,  was  a valorous 
general  under  the  Emperor  Trajan.  While  out  hunting  with 
his  horse  and  dogs,  Christ  crucified  appeared  to  him  between 
the  antlers  of  a stag  and  spoke  to  him,  whereupon  he  was  con- 
verted. A similar  story  is  told  of  St.  Hubert. 

45.  St.  Jerome  in  Penitence. — St.  Jerome  was  born  in  Dal- 
matia about  the  middle  of  the  fourth  century,  and  was  one  of  the 
most  learned  of  the  fathers  of  the  Latin  Church,  and  a prolific 
writer.  He  lived  four  years  as  an  anchorite  in  the  desert.  Ac- 
cording to  the  legend,  he  drew  a thorn  from  the  paw  of  the  lion 
which  ever  afterward  became  his  companion. 

46.  The  Virgin  and  Child  with  a Monkey. — This  is  the  finest 
of  Diirer’s  engravings  of  the  Madonna.  The  remarkable  land- 
scape background  is  a view  of  the  river  Pegnitz,  near  Nmremberg. 

39 


The  colored  drawing  for  this  landscape  is  preserved  in  the  British 
Museum.  Engraved  about  1500. 

47.  Detail  from  the  Triumphal  Arch  of  Maximilian. — 
Wood-cut. 


46.  Albrecht  Durer  : Virgin  and  Child 


HANS  SEBALD  BEHAM,  one  of  the  German  “ Tittle  Masters  ” 
(so-called  on  account  of  the  miniature  size  of  most  of  their  plates), 
was  born  in  Nuremberg  in  1500.  He  was  famous  in  his  day,  but 
we  know  very  little  about  him  except  that  with  his  brother 

40 


Barthel  he  was  banished  from  Nuremberg  for  expressing  too 
freely  his  opinions  about  government  and  property.  Thereafter 
he  worked  chiefly  in  Frankfort.  His  prints  show  indifference 
to  Italian  ideals  of  beauty,  but  possess  great  interest  on  account 
of  their  quaint,  unconventional  character,  great  variety  and 
piquancy,  and  remarkable  composition  and  technic. 

48-58.  Labors  of  Hercules. — The  best  examples  of  Sebald’s 
mythological  engravings,  dated  1542  to  1548. 

BARTHEL  BEHAM,  brother  of  Hans  Sebald  Beham,  was 
born  in  Nuremberg  in  1502,  and  died  at  the  early  age  of  thirty- 
eight  years,  after  achieving  great  popularity.  He  was  expelled 
from  Nuremberg  with  his  brother  for  his  socialistic  opinions, 
and  went  to  Italy,  where  he  studied  the  graceful  models  of 
antique  art.  His  works  show  the  Italian  influence,  and  contrast 
strongly  with  those  of  his  brother,  which  are  wholly  Teutonic  in 
character. 

59.  Combat  of  Naked  Men. — Eighteen  figures.  One  of  three 
rare  prints  in  the  form  of  friezes.  In  purity  and  perfection  of 
drawing  and  technic  they  are  among  the  masterpieces  of  early 
engraving. 

GEORGE  PENCZ,  another  of  the  German  “ Little  Masters,” 
was  born  in  Nuremberg,  before  the  beginning  of  the  sixteenth 
century.  He  was  banished  with  the  Behams,  but  was  allowed 
to  return.  He  studied  in  Italy,  and  his  works  show  Italian 
ideals,  but  his  workmanship  is  German  in  character. 

60.  Medea. 

WENCESLAUS  HOLLAR,  delineator,  illustrator  and  en- 
graver, was  born  in  1607  in  Prague,  where  a museum  devoted  to 
his  works  has  recently  been  established.  He  worked  in  Germany 
and  Bngland,  and  also  for  a time  at  Antwerp.  By  a series  of 
misfortunes  his  great  ability,  honest  endeavor  and  indefatigable 
industry  met  with  little  return  save  poverty,  neglect  and  sorrow. 
He  died  in  London,  in  1677.  Hollar  is  famous  for  his  views  of 
cities  and  cathedrals,  portraits,  costumes,  illustrations,  still-life, 
etc.  His  works  were  executed  with  great  spirit  and  lightness 
of  touch.  His  plates  are  very  numerous.  They  were  generally 
etched  with  rare  taste  and  skill,  and  finished  with  the  point  or 
graver  with  great  delicacy.  Some  of  them  were  engraved 

41 


wholly  with  the  burin.  As  an  etcher  of  still-life  Hollar  has 
rarely  been  surpassed. 

60.  Portrait  of  Queen  Henrietta  Maria.  — After  Van  Dyck. 

61.  Antwerp  Cathedral. 

62.  Communion  Chalice,  adorned  with  figures.  — Bngraved 
in  1640,  from  a design  said  to  have  been  made  by  Andrea 


Mantegna.  From  the  John  Barnard  collection,  dispersed  in 
1798. 

63.  Muff  with  Brocade  Band. — Dated  1641. 

42 


JOHANN  GOTTHARD  VON  MULLER.— This  eminent  mod- 
ern line  engraver  was  born  at  Bernhausen,  near  Stuttgart,  in 
1747,  and  studied  engraving  in  Paris  under  Wille.  He  founded 
the  Academy  of  Design  at  Stuttgart,  of  which  he  became  di- 
rector. He  died  in  1830.  He  was  the  father  of  J.  F.  W.  Muller, 
the  engraver  of  the  Sistine  Madonna. 

64.  Louis  XVI.,  after  Duplessis. — Kngraved  in  1793.  Proof 
before  letters,  with  “ Louis  Seize  ” traced  with  the  needle,  and 
with  Muller’s  name  at  the  right  below.  The  finished  print 
bears  the  inscription,  II  voulut  le  bonheur  de  sa  nation^  et  en 
devint  la  victime, 

65.  Jerome  Napoleon,  King  of  Westphalia,  in  his  Robes.  — 
After  Mme.  Kinson.  Fngraved  in  1813  by  J.  G.  Muller  in 
conjunction  with  his  son  Friedrich,  the  latter  engraving  the 
face  and  lace  kerchief.  Proof  before  all  letters. 

JOHANN  FRIEDRICH  WILHELM  MULLER,  son  and  pupil 
of  J.  G.  von  Muller,  was  born  in  Stuttgart  in  1782.  At  an  early 
age  he  studied  in  Paris  the  works  of  Bervic,  Desnoyers,  Tardieu 
and  other  eminent  engravers.  He  afterward  went  to  Italy,  and 
while  there  made  many  drawings  from  the  works  of  Italian 
masters.  Upon  his  return  to  Germany  he  was  appointed 
engraver  to  the  King  of  Wurtemberg,  and  afterward  professor 
in  the  Academy  at  Dresden.  After  completing  his  great  engrav- 
ing of  the  Sistine  Madonna  his  mind  and  health  gave  way,  and 
in  a moment  of  insanity  he  stabbed  himself  with  a graver,  from 
the  effects  of  which  he  died.  May  3,  1816,  in  his  thirty-fourth 
year.  After  his  death  the  proof  of  his  finished  plate  arrived 
from  Paris  and  was  suspended  over  his  bier. 

66.  Madonna  di  San  Sisto. — After  Raphael.  Engraver’s  trial 
proof,  containing  the  whole  design  ; the  two  saints  with  a halo, 
the  Madonna  and  Child  without.  This  impression  was  pre- 
sented by  the  engraver  to  the  Director  of  the  Cassel  Gallery  and 
is  believed  to  be  unique. 

67.  The  Same.— Artist’s  proof,  before  any  letters.  The 
Madonna  and  Child  are  without  the  halo.  Unsurpassed  impres- 
sion of  this  very  rare  state.  A few  only  exist.  This  engrav- 
ing, considering  its  subject,  and  the  superb  manner  in  which 
it  is  executed,  is,  by  many  authorities,  placed  at  the  head  of 
modern  line  engravings. 


43 


68.  St.  John  the  Evangelist. — ^ After  Domenichino.  Karly 
impression  with  “Dominichino  pinxit”  and  the  date  1808.  The 
first  two  lines  in  the  inscription  are  traced  in  open  letters. 
Dedicated  to  his  ‘ ‘ Father  and  Master.  ’ ’ 

JOHANN  AUGUST  EDUARD  MANDEL.— Mandel  was  born 
in  Berlin  in  1810,  and  studied  there,  and  also  in  Paris  where  he 


68.  J.  F.  W.  Muller:  St.  John  the  Evangelist 

received  all  the  regulation  honors  at  the  Salon,  He  became 
professor  of  engraving  at  the  Berlin  Academy.  Mandel  worked 
in  piure  line,  and  at  his  best  his  technic  is  wonderfully  pure,  soft 
and  delicate.  His  principal  subjects  are  Raphael’s  Sistine 
Madonna  and  Madonna  della  Sedia,  the  former,  like  Muller’s 
beautiful  engraving  of  the  same  subject,  published  posthu- 

44 


mously.  His  principal  portraits  are  those  of  Charles  I.  and 
Titian.  Mandel  died  in  1882,  surviving  many  illustrious  con- 
temporaries, and  becoming  almost  the  last  great  representative 
of  his  art. 

69.  Madonna  della  Sedia. — Engraved  in  1865.  The  engrav- 
er’s masterpiece,  and  the  finest  of  the  many  engravings  from 
Raphael’s  famous  painting  in  the  Pitti  Gallery  at  Florence. 
Artist’s  proof  with  the  engraver’s  signature. 


45 


DUTCH  AND  FLEMISH  ENGRAVERS. 

y4  T the  beginning  of  the  sixteenth  century  engraving  in 
Italy  and  Germany  was  rapidly  approaching  its  ma- 
X A-  turity.  In  the  Netherlands  its  career  had  scarcely  com- 
menced. There  it  became  most  important  at  a time  when  the 


70.  Lucas  van  Leyden  : David  playing  before  Saul 

earlier  schools  had  declined.  The  Dutch  and  Flemish  engravers 
excelled  in  qualities  lacking  in  the  works  of  their  predecessors. 
Until  the  time  of  Rubens  line  engraving  remained  for  the  most 
part  a severe  and  exact  art.  It  now  obtained  breadth  and 

46 


variety,  and  was  endowed  with  grace  and  freedom,  presenting 
rich  contrasts  and  effects  of  light  and  shade.  The  art  of  etch- 
ing reached  its  culminating  point  in  the  works  of  Rembrandt. 
The  works  of  the  Dutch  and  Flemish  engravers  are  of  the 
most  varied  character,  from  original  designs  and  after  eminent 
painters. 

LUCAS  VAN  LEYDEN  (LUCAS  JACOBSZ).— This  emi- 
nent painter  and  engraver,  the  first  great  artist  of  the  Dutch 
school,  was  born  in  Leyden  in  1494,  and  died  there  in  1533. 
Although  a contemporary  of  Diirer  and  Marc  Antonio,  his 
works  lack  the  lofty  sentiment  of  Diirer,  and  the  refinement 
and  masterly  drawing  of  the  Italian,  and  show  very  little  re- 
gard for  beauty  of  form  or  expression.  His  models  were 
generally  chosen  from  the  homely  peasant  types  around  him. 
His  prints  are  engraved  in  the  quaint,  Gothic  style  prevalent  in 
the  North,  but  are  spirited,  and  often  masterly  in  composition 
and  drawing,  and  show  a knowledge  of  perspective  in  advance 
of  his  time.  His  technic  is  wonderfully  neat,  delicate  and  pre- 
cise. Good  impressions  of  his  prints  are  extremely  scarce. 
Lucas  was  a friend  of  Diirer,  and  was  highly  esteemed  by  his 
con  temporaries . 

70.  David  Playing  Before  Saul.  One  of  the  engraver’s  prin- 
cipal works  and  in  an  impression  of  rare  quality.  His  plates 
were  delicately  engraved  and  good  impressions  are  scarce. 

HENDRIK  GOLTZIUS.  — Goltzius  was  born  at  Miilbrecht 
in  1558.  After  studying  engraving  at  home  under  Dirk  Coern- 
hert,  he  traveled  through  Italy  and  Germany,  and  resided  for  a 
time  in  Rome,  attracted  by  the  works  of  Raphael,  Michael 
Angelo  and  Caravaggio.  Upon  his  return  he  settled  at  Haarlem, 
where  he  died  in  1617.  There  is  a well-known  series  of  large 
prints  called  the  “ Masterpieces  of  Goltzius,”  engraved  in  imita- 
tion of  the  style  of  eminent  masters.  His  imitations  of  Diirer 
and  Lucas  of  Leyden  are  remarkably  successful,  but  his  attempts 
to  imitate  the  manner  of  Michael  Angelo  are  almost  grotesque 
in  their  exaggeration.  Goltzius  possessed  great  technical  skill, 
and  when  he  overcame  his  tendency  to  exaggeration  and  manner- 
ism he  often  produced  works  of  exceptional  merit.  Some  of 
his  large  portraits  are  wonderfully  bold  and  free  in  treatment ; 
in  other  prints  the  work  is  miniature -like  in  its  refinement  and 


47 


delicacy.  His  works  are  very  numerous  and  include  some  wood- 
cuts.  Goltzius  had  many  followers. 

71.  The  Boy  and  Dog. — Dated  1597,  and  dedicated  to  the 
Venetian  painter  Theodore  Frisius.  This  remarkable  print,  full 
of  vivacity  and  spirit,  is  the  engraver’s  masterpiece. 


71.  Hendrik  Goltzius  : Boy  and  Dog 


72.  Portrait  of  Theodore  Coernhert. — Poet,  author,  statesman 
and  artist,  and  reputed  author  of  the  “ Wilhelmus.”  First  state, 
before  the  border.  The  engraver’s  finest  portrait. 

JAN  MULLER. — Muller  was  a disciple  of  Goltzius,  in  whose 
manner  he  worked.  He  was  born  in  Amsterdam  about  1570, 
and  died  after  1625.  Some  of  his  portraits  are  highly  esteemed. 

48 


73.  Albert,  Archduke  of  Austria. — After  Rubens. 

74.  Isabella,  Infanta  of  Spain.— After  Rubens. 

CORNELIS  VISSCHER. — ^Visscher  was  the  most  eminent  of 
the  Dutch  line  engravers.  He  was  born  in  Haarlem  about  1610 
and  died  there  about  1670.  He  was  educated  in  the  Rubens 
school,  under  the  famous  teacher  Soutman,  but  formed  a style 
of  his  own,  unsurpassed  for  boldness,  spirit  and  picturesque 
effect.  Some  of  his  most  important  works  are  from  his 
own  designs,  and  there  are  fine  subjects,  chiefly  after  Dutch 
masters.  He  was  less  successful  than  his  contemporaries  of  the 
Rubens  school,  Bolswert  and  Vorsterman,  in  his  subjects  after 
the  Flemish  painters.  A few  of  his  portraits  are  among  the 
masterpieces  of  the  art,  typical  examples  of  Dutch  line  engrav- 
ing at  its  best. 

75.  Gellius  de  Bouma.^ — Fcclesiastof  Zutphen.  Third  state, 
before  the  date  1656,  and  the  inscription  “Amsterdam,”  etc., 
which  appears  upon  later  impressions. 

76.  Guilliam  De  Ryck. — Opthalmist  of  Amsterdam.  Third 
state,  with  the  first  inscription.  This  is  a very  rare  print. 
(This  portrait  and  the  preceding  are  called  “ The  Great  Beards,” 
and  are  the  finest  works  of  the  master.)  (Illustration,  p.  50.) 

77.  The  Sleeping  Cat. 

CORNELIS  VAN  DALEN. — This  engraver  was  born  at  Ant- 
werp about  1620  and  was  a pupil  of  Visscher.  He  formed  his 
style  upon  that  of  his  master,  and  of  the  Rubens  engravers. 
His  best  works  are  his  portraits  after  Titian,  which  are  remark- 
able productions.  The  soft  quality  of  these  portraits  it  is  thought 
may  have  suggested  to  its  inventor  the  mezzotint  process. 

78.  Giovanni  Boccaccio. — After  Titian. 

JONAS  SUYDERHOEF.— Suyderhoef  was  Visscher’s  fellow- 
pupil  in  the  school  of  Soutman.  He  was  born  in  Leyden  about 
1613  and  died  in  166*9.  combined  etching  with  burin  en- 
graving with  picturesque  effect.  Most  of  his  works  are  after 
eminent  Dutch  and  Flemish  masters. 

79.  The  Peace  of  Munster. — After  Terberg.  The  picture  is 
in  the  National  Gallery  in  London. 

49 


The  representatives  of  the  United  Provinces  and  Spain  are 
assembled  in  the  Town  Hall  at  Munster  to  ratify  the  treaty 
which  preceded  by  a few  months  the  famous  Peace  of  West- 
phalia, which  terminated  the  Thirty  Years’  War. 


76.  Jan  Muller:  Guilliam  De  Ryck 


THK  RUBENS  ENGRAVERS. 


The  eminent  painter  Rubens  trained  at  Antwerp  a group  of 
engravers  to  interpret  his  works  and  those  of  his  contemporaries. 
The  severe,  precise  style  so  long  in  vogue  was  superseded  by  a 
method  characterized  by  freedom,  energy,  vaiiety  and  grace  of 
line  suited  to  the  works  of  the  period.  Etching  came  more  and 
more  into  use  in  the  preliminary  work  upon  the  plate.  Rubens 

50 


induced  some  of  his  pupils  to  abandon  the  brush  for  engraving. 
He  advised  and  inspired  them,  furnished  them  with  subjects, 
and  corrected  and  retouched  their  proofs.  These  engravers 
obtained  remarkable  contrasts  and  effects  of  light  and  shade. 
They  excelled  in  their  engravings  after  the  Flemish  painters, 
but  were  less  successful  in  their  subjects  after  Italian  masters. 
To  the  engravers  of  this  school  we  are  principally  indebted  for 


8o.  S.  A.  Bolswert ; Holy  Family 

many  masterly  engravings  after  Rubens  and  Van  Dyck.  Few 
painters  have  had  the  satisfaction  of  seeing  so  many  of  their  im- 
portant works  so  finely  engraved. 

SCHELTIUS  A BOLSWERT,  the  foremost  of  the  so-called 
Rubens  engravers,  was  born  at  Bolswert,  in  Friesland,  in  1586, 
and  with  his  brother  Boetius  settled  in  Antwerp.  He  died  in 
1659.  He  engraved  many  fine  subjects  after  Rubens,  Van 
Dyck,  Jordaens  and  others.  His  prints  possess  in  a remarkable 
degree  the  characteristics  of  their  originals.  There  are  numer- 
ous proofs  drawn  upon  by  Rubens  with  chalk  or  pencil  suggest- 

51 


ing  alterations  or  improvements.  Many  of  his  subjects  have 
fine  landscape  backgrounds. 

80.  The  Holy  Family  in  a Landscape,  with  Angels. — After 
Van  Dyck.  First  state. 

81.  The  Rainbow  Landscape. — After  Rubens.  First  state. 
From  the  collection  of  Sir  Thomas  Lawrence,  whose  stamp  it 
bears.  It  was  afterwards  owned  by  the  mezzotint  engraver 
Samuel  Cousins. 

82.  Silenus. — After  Van  Dyck. 

83.  Christ  Crowned  with  Thorns.  After  Van  Dyck.  First 
state.  The  engraver’s  masterpiece. 

PAUL  PONTIUS. — Paul  Pontius,  or  Paulus  Du  Pont,  as  he  is 
often  called,  was  born  at  Antwerp  about  the  beginning  of  the 
seventeenth  century,  and  was  one  of  Rubens’  favorite  pupils.  He 
was  taught  engraving  by  Vorsterman.  He  engraved  in  a clear, 
bold  style,  with  rare  fidelity  to  his  originals.  His  best  works 
are  subjects  after  Rubens  and  portraits  after  Van  Dyck,  includ- 
ing many  in  the  Iconographia, 

84.  Peter  Paul  Rubens. — After  Van  Dyck,  dated  1630.  One 
of  the  finest  portraits  of  the  Rubens  School.  Impression  of 
superb  quality.  The  picture  is  at  Windsor  Castle. 

SIR  ANTHONY  VAN  DYCK.— This  eminent  painter  left  a 
few  etchings,  chiefly  portraits  of  contemporary  artists,  executed 
with  great  freedom,  energy  and  spirit,  and  with  classical  taste, 
simplicity  and  refinement.  In  many  of  these  plates  back- 
grounds and  accessories  were  afterward  added  by  other  engrav- 
ers. Some  of  these  portraits  were  included  in  the  Iconographia^ 
a famous  work  comprising  one  hundred  portraits  after  Van  Dyck, 
published  at  Antwerp  in  1645. 

85.  Justus  Suttermans. — Fourth  state,  on  thin  Japan  paper 
and  with  the  initials  G.  H.  (Gillis  Hendricx,  publisher.) 

86.  Pieter  Breughel. — Fourth  state,  with  the  initials  of  Gillis 
Hendricx. 

REMBRANDT  VAN  RYN. — Rembrandt  was  born  in  Leyden 
in  1607,  and  at  an  early  age  removed  to  Amsterdam,  which 
became  his  permanent  home.  He  died  there  in  1669.  Among 
the  most  famous  of  the  world’s  great  painters,  Rembrandt 


52 


stands  foremost  among  the  masters  of  the  art  of  etching.  His 
versatility  was  great.  He  constantly  varied  his  theme  and 
methods,  portraying  human  character  or  natural  scene  with 
absolute  mastery  of  art,  and  with  all  the  technical  resources  of 
his  craft,  of  which  he  was  a consummate  master.  He  broke 
away  from  old  traditions,  becoming  in  many  ways  a modern. 


His  work  is  often  simple  in  composition,  with  unerring  selection 
of  line  and  econonj.y  of  means,  and  with  exquisite  refinement 
and  subtlety  of  expression  ; and  through  intermediate  degrees  it 
becomes  bold,  broad  and  dramatic,  with  a multitude  of  figures, 
and  with  grand  effects  of  chiaroscuro.  Rembrandt  undoubtedly 
drew  most  of  his  subjects  directly  upon  the  plate.  The  draw- 
ings which  exist  are  little  more  than  studies  in  composition. 


53 


In  handling  the  needle,  biting  in  the  plate,  and  in  taking  im- 
pressions he  knew  how  to  obtain  exactly  the  results  desired. 
He  was  a master  in  the  use  of  the  dry-point,  which  he  used 
more  and  more,  until  in  much  of  his  later  work  dry-point  has 
superseded  the  bitten  line.  There  are  plates  done  wholly  in 
this  manner.  Rembrandt’s  prints  number  more  than  350,  and 


88.  Rembrandt : Portrait  of  Jan  Lutma 


cover  a wide  range  ; portraits,  religious  and  allegorical  subjects, 
landscapes,  genre,  etc.  In  each  department  there  are  master- 
pieces. 

87.  Jesus  Christ  Preaching. — Etched  about  1652.  It  is  one 
of  the  finest  of  Rembrandt’s  religious  subjects.  This  impres- 
sion is  of  the  finest  quality,  full  of  bur  in  the  dry-point  work,  of 

54 


which  there  is  much  on  the  robe  of  the  man  with  the  turban 
standing  on  the  left. 

88.  Jan  Lutma.  The  celebrated  goldsmith.  Second  state. 
1656. 

89.  The  Gold- Weigher Field. — Dated  1651.  Barly  im- 
pression with  bur.  The  scene  is  near  the  Zuyder  Zee.  The 
village  in  the  distance  to  the  left  is  Naarden. 

THE  DUTCH  ETCHERS. 

Following  Rembrandt  came  the  group  of  artists  known  as 
the  “Dutch  Etchers,”  who,  like  the  Tittle  Masters  of  Germany, 
appeared  in  a body.  They  represented  scenes  from  peasant  life, 
landscapes,  animals,  shipping,  etc.  Their  plates  are  mostly  of 
small  size,  full  of  life  and  spirit. 

ADRIAN  VAN  OSTADE  (1610-1685),  was  a pupil  of  Frans 
Hals.  His  works  represent  scenes  from  Dutch  peasant  life, 
devoid  of  refinement,  but  full  of  piquancy  and  spirit,  remark- 
able in  composition  and  effects  of  light  and  shade,  and  in  the 
manner  in  which  his  figures  are  relieved  from  each  other  and 
from  the  background. 

90.  A Woman  Spinning.  — First  state.  One  of  the  most 
attractive  and  delicately  executed  of  Ostade’s  etchings,  remark- 
able for  its  glowing  effects  of  sunshine.  Dated  1652. 

NICHOLAS  BERGHEM. — This  famous  painter  and  etcher  was 
born  in  Haarlem  in  1624  and  died  in  Amsterdam  in  1683.  His 
prints  are  exquisite  in  composition,  drawing  and  technic,  and 
are  remarkable  for  neatness,  precision  and  finish.  His  charm- 
ing groups  of  peasants  and  cattle  are  placed  in  beautiful  land- 
scapes, often  enriched  with  architectural  ruins,  Arcadian  scenes 
rather  than  those  of  real  life. 

91.  Landscape  with  a Man  playing  on  the  Flute  and  a Woman 
sitting. — First  state.  Duplicate  from  the  Amsterdam  Museum. 

JAN  BOTH.  This  distinguished  artist  was  born  in  Utrecht 
about  1610  and  died  after  1662.  He  lived  for  many  years  in 
Italy,  and  became  famous  for  his  landscapes  in  the  style  of 
Claude  Lorraine.  He  etched  a number  of  beautiful  landscapes, 
Italian  in  character,  with  figures  and  animals  grouped  with 

55 


great  taste  and  picturesque  effect.  His  drawing  is  very  graceful 
and  his  prints  are  executed  in  a masterly  style. 

92.  The  Ox-Cart.  Second  state. 

ANTONI  WATERLOO. — The  works  of  this  well-known  land- 
scape artist  possess  a peculiar  charm,  and  are  in  striking 
contrast  to  those  of  Both  and  Berghem,  whose  works  show  the 
Italian  influence  then  beginning  to  pervade  the  art  of  the 
Netherlands.  His  landscape  etchings  are  simple  in  composi- 
tion, and  are  spirited  and  picturesque  in  effect.  They  generally 
represent  forest  scenery,  with  great  masses  of  foliage.  Water- 
loo was  born  about  1618  and  died  about  1677. 

93.  The  Water-Mill. 

94.  Landscape  with  two  Peasants  in  foreground  and  Dog 
drinking. 

95.  Landscape  with  mythological  figures.  One  of  a set  of  six. 

PAUL  POTTER. — Paul  Potter  was  born  in  1625  and  died  in 
1654  at  the  early  age  of  twenty-nine  years.  This  eminent  painter 
of  animals  also  etched  a small  number  of  plates  of  cows,  horses 
and  other  animals,  and  some  landscapes  with  animals.  His 
prints  are  chiefly  remarkable  as  studies  of  individual  animals, 
whose  character,  attitudes  and  expression  are  portrayed  with 
rare  fidelity. 

96-99.  Cattle,  Four  subjects. 

JACOBUS  HOUBRAKEN. — Jacobus, son  of  Arnold  Houbraken, 
painter  and  biographer  of  the  Dutch  artists,  was  born  in  Dor- 
drecht in  1698,  and  was  the  greatest  of  the  eighteenth  century 
Dutch  line  engravers.  He  is  chiefly  known  by  his  portraits 
engraved  for  Birch’s  “Heads  of  Illustrious  Persons  of  Great 
Britain,”  published  1743-52.  His  best  works,  however,  are  por- 
traits of  celebrated  Dutchmen.  Some  of  these  are  superbly 
engraved,  full  of  life  and  expression,  and  remarkable  for  clear- 
ness, delicacy  and  precision.  He  was  especially  successful  in 
rendering  flesh  and  hair.  He  appears  to  have  formed  his  style 
by  study  of  the  works  of  the  French  engravers  Fdelinck, 
Nanteuil  and  the  Drevets.  He  died  in  Amsterdam  in  1780. 

100.  Franz  Van  Mieris. — The  engraver’s  masterpiece. 


56 


ENGRAVING  IN  FRANCE. 


UNTlIy  the  seventeenth  century  French  engraving  had 
no  essential  character  of  its  own.  France  had  received 
inspiration  from  Italy  in  matters  pertaining  to  art.  The 
only  sixteenth  century  engravers  who  need  be  mentioned  are 
Jean  Duvet,  a goldsmith  and  engraver  in  the  service  of  Francis  I 
and  Henry  II ; Jean  Cousin  and  Bernard  Salomon,  known  chiefly 
through  their  designs  for  wood-cuts  ; and  the  engravers,  of 
whom  Etienne  Delaune  was  the  chief,  who  reproduced  the  de- 
signs of  the  Italian  masters  engaged  by  Francis  I to  assist  in 
the  decoration  of  Fontainebleau.  The  earliest  French  engraver 
worthy  of  particular  attention  was  Callot.  The  French  School 
is  remarkable  for  the  number  and  excellence  of  its  portraits.  In 
the  works  of  Nanteuil,  Edelinck  and  their  successors  line  engrav- 
ing reached  its  highest  development.  The  modern  revival  of 
etching,  which  had  declined  as  an  original  art  after  the  death 
of  Rembrandt,  was  due  chiefly  to  French  artists. 

JACQUES  CALLOT. — This  eccentric  artist  was  born  at 
Nancy,  in  Lorraine,  in  1592.  He  studied  in  Nancy,  Florence 
and  Rome,  and  also  worked  in  Brussels  and  Paris.  He  died  at 
Nancy  in  1635.  Callot’s  prints  are  exceedingly  numerous,  and 
comprise  subjects,  portraits,  landscapes,  architectural  pieces, 
sieges,  illustrations,  costumes,  etc.,  in  almost  infinite  variety, 
often  fantastic  and  grotesque,  and  showing  excessive  mannerism 
and  little  concern  for  correctness  of  drawing  or  proportion,  or 
for  unity  of  composition.  His  technic  was  generally  a combi- 
nation of  etching  and  burin  work,  often  ragged  and  showing 
undue  haste,  although  some  of  his  works  are  executed  in  a 
masterly  manner.  Notwithstanding  their  faults,  Callot’s  prints 
possess  an  irresistible  charm  and  attraction,  arising  from  his 
marvelous  grasp  of  the  details  of  a scene,  the  wonderful  variety 
and  life-like  arrangement  and  grouping  of  his  multitudes  of 
figures,  the  life,  humor  and  spirit  which  pervade  them,  and  his 
picturesque  rendering  of  architecture.  Many  of  his  prints 
illustrate  historical  features  of  the  reign  of  Louis  XHI. 

57 


101.  View  of  the  Pont  Neuf  and  Tour  de  Nesle. 

102.  View  of  the  Louvre  and  Tour  de  Nesle. 

First  state,  before  Sylvestre’s  address.  These  impressions 
formerly  belonged  to  Pierre  Mariette,  an  eminent  seventeenth 
century  collector,  and  bear  his  autograph  upon  the  back.  The 
collection  was  dispersed  in  1775. 

CLAUDE  GELLEE  commonly  called  Claude  Lorraine,  was 
born  in  1600  in  the  ancient  Province  of  Lorraine.  Although 


103.  Claude  Lorraine  : Le  Bouvier 


generally  classed  as  a French  artist,  his  education  and  training 
were  Italian,  and  he  passed  most  of  his  life  in  Rome,  where  he 
died  in  1682. 

Claude’s  influence  upon  landscape  engraving  was  accom- 
plished through  his  paintings,  rather  than  by  his  etchings.  The 
engravers  who  interpreted  his  works  were  compelled  to  devote 
careful  study  to  atmospheric  effects  and  transparency,  delicate 
distinctions  and  values,  aerial  perspective,  and  varying  condi- 
tions of  light  and  shade.  His  influence  was  supplemented  by 
that  of  Turner.  The  best  engravings  after  Claude  were  pro- 

58 


duced  in  England  in  the  latter  half  of  the  eighteenth  century 
by  Vivares,  Woollett,  and  others. 

Claude  etched  a few  landscapes,  which  in  fine  impressions 
are  exceedingly  scarce.  They  possess  most  of  the  characteris- 
tics of  his  paintings.  Some  of  them  are  almost  perfect  types  of 
landscape  etching  in  tenderness,  transparency  and  delicacy  of 
gradation;  idyllic  scenes  exquisitely  rendered.  The  light  is 
distributed  almost  as  softly  and  tenderly  as  in  his  paintings. 

The  famous  ‘ ‘ Eiber  Studiorum  ’ ’ consists  of  about  200  draw- 
ings made  by  Claude  for  the  purpose  of  preserving  a record  of  his 
pictures.  These  sketches  were  engraved  in  mezzotint  by  Earlom. 

103.  Le  Bouvier  (The  Cow-Herd).— Considered  by  many 
authorities  to  be  the  finest  of  all  etchings  of  a landscape  sub- 
ject. Superb  early  impression  from  the  collection  of  the 
Due  d’Aremberg. 

104.  Port  de  Mer  au  Fanal. — (Seaport  with  a Tighthouse. ) 
Second  state. 

CLAUDE  MELLAN. — The  works  of  the  great  portrait  engrav- 
ers are  the  chief  glory  of  the  French  School.  The  first  to  appear 
was  Claude  Mellan,  who  in  his  own  time  achieved  great  celebrity. 
Mellan  was  born  in  Abbeville  in  1598.  He  studied  art  in  Paris 
under  Simon  Vouet,  and  afterward  went  to  Rome,  where  he 
engraved  a number  of  plates  in  the  ordinary  manner  of  the  time, 
crossing  and  re- crossing  his  lines  to  produce  the  required  shad- 
ings and  effects.  Upon  his  return  to  Paris  he  adopted  a peculiar 
style,  using  parallel  lines  without  crossing,  producing  the  shad- 
ings and  gradations  by  varying  the  thickness  of  the  line.  He 
engraved  many  portraits  of  eminent  persons,  and  a great  variety 
of  subjects.  Mellan  died  in  Paris  in  1688. 

105.  The  Sudarium  of  St.  Veronica. — Engraved  by  a single 
spiral  line  begun  at  the  extremity  of  the  nose.  From  Meaume 
collection.  One  of  the  curiosities  of  Engraving. 

JEAN  MORIN. — This  celebrated  engraver  was  born  in  Paris 
about  1609  and  died  there  in  1666.  He  devoted  himself  chiefly 
to  engraving  from  the  works  of  his  master  Philippe  de  Cham- 
paigne  and  Van  Dyck,  by  a difficult  and  pleasing  combination  of 
strokes  and  dots,  obtaining  many  of  his  shadings  and  effects  by 
stippling.  His  work  resembles  that  of  Van  Dyck. 

59 


io6.  Cardinal  Bentivoglio.— After  Van  Dyck.  The  engraver’s 
best  work.  Dated  1623. 

FRANCOIS  DE  POILLY. — Poilly  who  belonged  to  an  eminent 
family  of  engravers  was  born  at  Abbeville  in  1622.  He  received 
his  early  instruction  from  his  father,  and  was  then  sent  to  Paris, 


105.  Claude  Mellan  : Sudarium  of  St.  Veronica 


and,  a few  years  later,  to  Rome,  where  he  worked  until  1656 
when  he  returned  to  Paris  with  an  established  reputation.  Poilly 
was  one  of  the  foremost  engravers  of  his  time  and  was  also 
eminent  as  a teacher,  greatly  influencing  the  progress  of  his  art. 
Among  his  pupils  was  the  famous  Gerard  Kdelinck.  He  en- 

60 


graved  numerous  portraits  and  subjects,  upon  many  of  which  he 
received  assistance  from  his  pupils. 

107.  Portrait.  After  Philippe  de  Champaigne.  First  state, 
1664. 

ROBERT  NANTEUIL. — Nanteuil  may  justly  be  called  the 
most  eminent  of  all  portrait  engravers.  He  possessed  great 


108.  Robert  Nanteuil  : Pompone  de  Bellievre 


natural  ability  and  refinement  of  taste,  and  received  a classical 
education  and  thorough  training  as  draughtsman  and  engraver. 
He  was  a pupil  of  Nicholas  Regnesson,  of  Rheims,  where  he  was 
born  in  1623.  His  great  technical  skill  was  always  subordinated 
to  art,  and  his  works  are  almost  wholly  free  from  the  meretricious 

61 


ornament  which  overloads  much  of  the  work  of  the  houis  XIV 
period. 

In  1647  Nanteuil  went  to  Paris,  where  he  received  instruction 
from  the  eminent  painter  Philippe  de  Champaigne,  and  soon 
attracted  attention  by  his  crayon  portraits.  The  king  gave  him 
sittings  for  a portrait,  and  afterward  appointed  him  designer  and 
engraver  to  the  royal  cabinet  with  a pension.  Although  diligent 
and  severely  exact  in  the  practice  of  his  art,  Nanteuil  seems  to 
have  led  a gay  life  in  Paris,  becoming  one  of  the  set  which 
gathered  about  the  famous  Mile,  de  Scudery. 

Nanteuil ’s  early  portraits  were  engraved  in  the  style  of 
Claude  Mellan,  using  parallel  lines  without  crossing,  but  about 
1650  he  abandoned  this  manner  for  one  of  great  beauty  and 
originality,  in  which  cross-hatching  was  much  employed.  His 
portraits  number  about  220,  and  represent  most  of  the  leading 
men  of  his  time.  Most  of  these  were  engraved  from  his  own 
drawings,  and  are  generally  represented  in  an  oval  about  7x9 
inches,  although  upwards  of  thirty  are  of  about  life  size. 
Although  in  individual  instances,  and  in  particular  qualities, 
NanteuiPs  work  may  have  been  surpassed  by  that  of  other  en- 
gravers, no  one  else  has  ever  engraved  so  many  portraits  of  such 
high,  uniform  excellence.  They  combine  great  clearness  and 
individuality  with  surpassing  softness  and  beauty.  Nanteuil 
died  in  Paris  in  1678. 

108.  Pompone  de  Bellievre. — After  he  Brun. 

109.  Gilles  Boileau,  father  of  the  poet,  1658.  First  state. 

no.  Moses  Holding  the  Tables  of  the  Law  After  Ph.  de 

Champaigne.  This  plate  was  completed  by  Fdelinck,  who 
engraved  the  face  and  hands. 

GERARD  EDELINCK. — This  great  engraver  was  born  at 
Antwerp  in  1640,  and  was  one  of  the  numerous  artists  attracted 
to  Paris  during  the  reign  of  Louis  XIV.  Bdelinck’s  early  work 
was  in  the  manner  of  the  Rubens  engravers,  but  after  his  arrival 
in  Paris  he  entered  the  studio  of  Poilly,  and  his  style  was  greatly 
improved  and  refined  by  the  influence  of  that  master,  and  of 
Nanteuil.  His  rare  talents  soon  gained  for  him  great  reputation. 
He  was  taken  into  the  king’s  service,  and  given  a pension  and 
apartments  at  the  Gobelins,  where  Colbert  had  established  for 
Louis  a school  for  the  cultivation  of  engraving.  He  also  received 

62 


many  other  honors,  including  knighthood.  He  devoted  his  life 
wholly  to  art,  taking  no  part  in  the  gay  life  of  his  associates, 
among  whom  were  Nanteuil,  Audran,  Masson,  Poillyand  Pesne, 
all  of  whom  he  survived.  He  died  in  Paris  in  1707. 

More  than  half  of  Kdelinck’s  prints,  numbering  about  340, 
are  portraits.  Some  of  these  are  among  the  masterpieces  of 
engraving.  The  greater  portion  of  his  portraits,  however,  are 
inferior  to  those  of  Nanteuil,  many  of  them  having  an  unpleasant 


III.  Gerard  Edelinck  : Philippe  de  Champaigne 


metallic  quality.  Kdelinck  engraved  with  great  success  subjects 
after  Raphael,  Leonardo,  Guido  and  other  Italian  masters,  and 
some  fine  subjects,'  chiefly  historical,  after  French  artists,  par- 
ticularly Te  Brun.  His  works  are  picturesque  in  style,  charac- 
terized by  vigor,  force  of  expression  and  effects  of  chiaroscuro. 

III.  Philippe  de  Champaigne.  From  the  artist’s  portrait  of 
himself  in  the  Louvre.  First  state.  Many  authorities  place  this 

63 


at  the  head  of  all  engraved  portraits.  Impression  of  unsur- 
passed quality.  1676. 

1 12.  Marten  Van  Den  Bogaert,  Sculptor. — After  Hyacinthe 
Regaud.  Early  state  before  Brevet’s  address. 

1 1 3 . Battle  for  the  Standard. — Engraved  from  Rubens’  draw- 
ing from  the  famous  cartoon  by  Eeonardo.  Second  state,  before 
the  three  dots  on  the  blade  of  the  sword  of  the  second  horseman. 

ANTOINE  MASSON. — Masson  was  born  near  Orleans  in 
1636,  and  at  an  early  age  went  to  Paris.  As  an  engraver  of  por- 
traits he  was  a worthy  companion  of  Nanteuil  and  Edelinck, 
with  whom  he  shared  honors.  Although  he  did  not  have  the 
art  education  and  training  of  those  great  masters,  he  often 
equaled,  or  even  excelled  them  in  technical  skill.  A few  of 
his  engravings  are  masterpieces  judged  from  any  standpoint. 
Masson  was  educated  as  an  armorer  and  worker  in  damascene, 
and  his  early  work  consisted  in  ornamenting  gun  barrels. 
When  he  turned  from  this  harder  metal  to  copper,  he  handled 
the  graver  with  firmness  and  precision,  and  yet  with  a delicacy 
which  is  amazing.  He  engraved  many  portraits,  large  and 
small,  and  some  fine  subjects.  The  peculiar  qualities  of  his 
works  are  shown  in  the  examples  given  below.  Masson  died  in 
Paris  in  1700. 

1 14.  Henri  de  Lorraine,  Comte  d’Harcourt. — Called  Le  Cadet 
d la  perle^  from  the  pearl  in  the  ear.  After  Mignard.  First 
state,  before  the  figure  resembling  the  number  4 in  the  left  mar- 
gin of  the  plate. 

1 15.  Guillaume  de  Brisacier. — Called  the  ^'gray-haired 
man.”  After  Mignard,  1664. 

1 16.  Marie  de  Lorraine. — Duchesse  de  Guise.  After  Mig- 
nard. First  state,  1684. 

1 17.  Anne  of  Austria. — Queen  of  Louis  XIII.  After 
Mignard. 

1 18.  The  Supper  at  Emmaus. — From  Titian’s  painting  in 
the  Louvre. 

GERARD  AUDRAN.— In  his  own  time  Gerard  Audran’s  re- 
putation was  greater  than  that  of  any  other  French  engraver, 
and  he  is  still  regarded  as  one  of  the  chief  ornaments  of  the 
French  school.  He  was  born  in  1640,  the  year  of  Edelinck ’s 

64 


birth,  and  belonged  to  a Lyons  family,  famous  in  the  history  of 
engraving.  After  studying  under  his  father  and  uncle,  he  was 
sent  to  Paris,  where  he  received  instruction  from  the  royal 
painter,  Le  Brun.  He  afterward  became  the  especial  interpreter 
of  that  master’s  works.  In  1667  Gerard  went  to  Rome,  under 


1 15,  Antoine  Masson  : Guillaume  de  Brisacier 


the  patronage  of  the  King’s  minister,  Colbert,  and  remained  a 
number  of  years.  While  there  he  engraved  a portrait  of  Pope 
Clement  IX,  which  ^gained  for  him  such  reputation  that  Colbert 
recalled  him  to  Paris,  appointing  him  royal  engraver,  with  a 
pension  and  apartments  at  the  Gobelins.  Here  he  engraved  his 
superb  masterpieces,  ‘ ‘The  Battles  of  Alexander,  ’ ’ from  the  paint- 
ings by  Le  Brun,  then  just  completed,  and  now  in  the  Louvre, 

65 


a stupendous  undertaking  upon  whicli  he  was  engaged  for 
nearly  six  years.  These  very  large  and  magnificent  prints  were 
published  at  the  expense  of  the  King,  who  presented  many  of 
the  choicest  impressions  to  sovereigns  and  ambassadors  of 
other  countries.  Gerard  Audran  was  one  of  the  most  skillful 
draughtsmen  of  his  time.  He  possessed  great  technical  skill, 
united  with  taste  and  originality.  His  works  are  remark- 
able for  vigor  and  expression,  and  for  effects  of  chiaroscuro. 
He  engraved  in  a broad,  original  style  especially  suited  to  his 
subjects,  combining  with  the  greatest  success  the  work  of  the 
burin  and  needle.  He  devoted  himself  chiefly  to  the  works  of 
Le  Brun,  Poussin  and  Mignard,  although  there  are  some  beauti- 
ful plates  after  Raphael  and  other  Italian  masters.  He  died  in 
Paris  in  1703. 

The  Battles  of  Alexander. — After  he  Brun.  Four  subjects, 
engraved  on  thirteen  plates.  Old  impressions  with  the  name 
of  Goyton  (the  letters  in  dots)  as  printer. 

1 19.  The  Passage  of  the  Granicus. 

120.  The  Defeat  of  Darius  at  Arbela. 

1 21.  Porus  Brought  Before  Alexander. 

122.  The  Triumphal  Entry  into  Babylon. 

JEAN  PESNE.  — This  engraver,  who  belonged  to  a family  of 
artists,  was  born  in  Rouen  in  1623  and  died  in  Paris  in  1700.  He 
was  one  of  the  foremost  of  the  French  engravers  of  the  17th 
century,  devoting  himself  chiefly  to  the  works  of  Nicholas 
Poussin,  after  whom  he  engraved  about  100  plates. 

123.  Portrait  of  Nicholas  Poussin. — From  the  painting  by 
Poussin,  now  in  the  Fouvre.  First  state,  before  Audran ’s 
address.  With  the  autograph  of  Pierre  Marie tte,  1690,  and  from 
his  collection. 

CLAUDIA  STELLA. — Claudia  Bouzonnet,  called  Claudia 
Stella,  was  born  in  Lyons  in  1636,  and  was  a niece  and  pupil  of 
Jacques  Stella,  an  imitator  of  Poussin.  She  distinguished  her- 
self as  an  engraver,  and  shares  honors  with  Jean  Pesne  and 
Gerard  Audran  as  an  interpreter  of  Poussin.  She  died  in  Paris 
in  1697.  Some  of  her  works  are  exceedingly  fine. 

124.  Moses  Striking  the  Rock.  — After  Nicholas  Poussin. 
Engraved  in  1687. 


66 


PIERRE,  PIERRE  IMBERT,  AND  CLAUDE  DREVET.— 

Pierre  Drevet  was  born  at  Loire,  in  the  Lyonnais,  in  1663.  He 
commenced  his  studies  at  Lyons  under  Germain  Audran  and 
continued  them  under  Gerard  Audran  in  Paris.  In  1696  he 


126.  Pierre  Imbert  Drevet : J.  B.  Bossuet 

became  Court  Engraver,  and  in  1707  he  was  made  an  Academ- 
ician. He  died  in  Paris  in  1738. 

Pierre  Imbert  Drevet,  son  of  Pierre  Drevet,  was  born  in 
Paris  in  1697,  and  became  an  engraver  of  rare  ability,  over- 
shadowing his  father.  He  practiced  his  art  until  his  early 

67 


death  in  1739,  notwithstanding  a period  of  insanity  dating  from 
about  1730. 

Claude  Drevet,  nephew  and  pupil  of  Pierre  Drevet,  was 
born  at  Lyons  about  1705,  and  died  in  Paris  in  1781. 

These  engravers  worked  entirely  with  the  burin,  and  the 
splendors  of  their  technic,  in  richness  and  exquisite  finish,  have 
rarely  been  equaled.  Their  portraits  lack  the  freedom  and 
vigor  which  characterize  the  works  of  Bdelinck,  and  the  sim- 
plicity and  softness  of  those  of  Nanteuil,  but  possess  a subtlety 
of  expression  and  refinement  of  technic  quite  their  own.  Their 
representation  of  the  draperies,  laces,  silks,  ermine,  carved 
wood,  and  other  accessories  of  the  works  of  Rigaud,  De  Troy, 
Le  Brun  and  other  artists  of  the  meretricious  school  are  as  near 
perfection  as  any  engraver  ever  attained,  yet  these  are  carefully 
subordinated  to  the  features,  which  are  engraved  with  great  de- 
licacy and  clearness,  and  preserve  in  a remarkable  degree  the 
character,  expression,  transparency  and  warm  flesh  tints  of  the 
originals.  The  portrait  of  Bossuet  is  the  most  perfect  type  of 
these  engravings. 

Pierre  Drevet. 

125.  Louis  XIV.  in  his  coronation  robes. — After  Hyacinthe 
Rigaud.  The  picture  is  in  the  Louvre. 

Pierre  Imbert  Drevet. 

126.  Jacques  Benigne  Bossuet. — After  Rigaud.  Engraved  in 
1723.  The  famous  bishop  and  orator.  Impression  before  any 
dot  Siiiex pin xit^  After  every  hundred  impressions  one  dot  was 
added.  From  the  Farl  of  Hardwicke’s  collection. 

127.  Cardinal  Dubois. — After  Rigaud. 

128.  Samuel  Bernard. ^ — After  Rigaud.  Before  the  words 
“ Conseiller  d’Ftat  ” were  added  to  the  inscription. 

129.  Adrienne  Le  Couvreur.  — After  Coypel.  The  great 
actress  is  represented  as  Cornelia,  in  Corneille’s  tragedy.  La 
Mort  de  Pompte. 

Ceaude  Drevet. 

130.  Philippe  Louis,  Comte  de  Zinzendorf. — After  Rigaud. 
Portrait  of  the  Austrian  Ambassador. 

JEAN  JOSEPH  BALECHOU. — Balechou  was  born  at  Arles  in 
1719,  and  studied  engraving  at  Avignon  and  Paris.  He  died  in 

68 


Avignon  in  1764.  Although  not  an  engraver  of  the  first  rank,  a 
few  of  his  prints  are  highly  esteemed.  His  work  is  characterized 
by  neatness  and  clearness  of  line,  but  is  often  defective  in  draw- 
ing and  fails  to  realize  the  spirit  of  his  originals.  The  English 


133.  Laurent  Cars  : Fetes  Venitiennes 


engraver  Woollett  was  greatly  influenced  by  the  style  of  this 
engraver. 

131.  The  Storm. — After  Joseph  Vernet. 

132.  Augustus  III,  King  of  Poland. — After  Rigaud. 

69 


LAURENT  CARS. — Cars  was  born  in  Lyons  in  1669,  and  died 
in  Paris  in  1771.  He  was  the  greatest  of  the  many  clever 
eighteenth  century  engravers  who  reproduced  the  designs  of 
those  popular  artists  Lemoyne,  Boucher,  Watteau  and  their 
followers.  His  prints  are  remarkable  for  grace,  spirit  and 
beauty. 

133.  Fetes  Venitiennes. — After  Watteau.  Duplicate  from 
Berlin  Museum.  (Page  69.) 

JOHANN  GEORG  WILLE.  — This  eminent  engraver  and 
teacher,  German  by  birth,  belongs  to  France  by  education 
and  adoption.  No  other  modern  engraver  has  exercised  so 
great  an  influence  upon  the  technique  of  his  art.  Wille  was 
born  near  Konigsberg  in  1715,  and,  like  Masson,  commenced 
his  career  as  an  engraver  of  ornamental  work.  About  1736  he 
went  to  Paris,  where  he  rose  rapidly  into  eminence  and  soon 
became  the  foremost  engraver  of  his  time.  He  was  advised  and 
directed  by  the  painter  Hyacinthe  Rigaud,  whose  portraits  were 
then  the  fashion.  During  his  long  career  he  received  many 
honors,  but  became  blind  and  impoverished  in  extreme  old  age 
during  the  Revolution.  He  died  in  Paris  in  1808. 

While  Nanteuil,  Fdelinck  and  the  Drevets  subordinated 
their  great  skill  to  art,  Wille  devoted  his  attention  chiefly  to  the 
technique  of  engraving,  often  sacrificing  artistic  qualities  in  a 
display  of  manual  skill.  He  is  famous  for  his  representation  of 
silk  and  satin  draperies.  Although  many  of  his  prints  have  a 
hard,  metallic  quality,  there  are  masterpieces  full  of  life  and 
spirit.  His  best  works  are  subjects  after  Dutch  masters  and  por- 
traits after  contemporary  French  painters,  particularly  Rigaud, 
Tocque  and  La  Tour. 

Wille  has  been  called  the  father  of  modern  engraving.  He 
numbered  among  his  pupils  Bervic,  J.  G.  von  Miiller,  Tardieu 
and  others,  who  in  turn  transmitted  his  instruction  to  their 
pupils,  among  whom  were  Desnoyers,  Longhi,  Toschi,  J.  F. 
Miiller  and  many  other  eminent  engravers  of  France,  Italy 
and  Germany. 

134.  Travelling  Musicians. — After  Dietrich. 

135.  Paternal  Instruction. — After  Terburg.  Called  “The 
Satin  Gown.”  The  pictme  is  in  the  gallery  at  Amsterdam. 

136.  Marshal  Saxe. — After  Rigaud. 

70 


GEORG  FRIEDRICH  SCHMIDT.— Schmidt  was  born  in  1712 
in  Berlin,  and  received  his  early  training  at  the  Academy. 
About  1736  he  went  to  Paris  with  Wille,  and  soon  acquired 
great  reputation.  He  was  received  into  the  Academy  in  Paris 
in  1742,  in  which  year  he  engraved  the  famous  laughing  portrait 
of  ha  Tour,  and  for  his  reception  engraved,  in  1744,  his  fine 
portrait  of  the  painter  Mignard.  But  Schmidt  was  by  nature  a 
wanderer,  and  soon  afterward  returned  to  Berlin,  where  he  was 
appointed  engraver  to  the  King.  In  1757  the  Bmpress  Eliza- 
beth invited  him  to  St.  Petersburg.  Here  he  assisted  in  estab- 
lishing the  Academy  and  engraved  some  of  his  finest  portraits, 
among  them  his  large  portrait  of  the  Empress,  after  Tocque,  a 
pupil  of  Rigaud,  whom  the  Empress  had  invited  to  the  Russian 
Court.  In  1762  Schmidt  returned  to  Berlin,  where  he  etched 
some  subjects  and  portraits  in  the  manner  of  Rembrandt.  Here 
he  died  in  1775.  Schmidt  engraved  more  than  200  plates.  A 
few  of  his  portraits  are  worthy  of  Edelinck,  but  most  of  his 
work  is  deficient  in  taste. 

137.  Maurice  Quentin  La  Tour. — Called  “The  Laughing 
Painter.”  After  La  Tour,  1742. 

138.  Pierre  Mignard. — After  Hyacinthe  Rigaud,  1744. 

139.  G.  F.  Schmidt. — Portrait  of  the  engraver  holding  a 
crayon.  From  his  own  design.  Etching.  From  Meaume  col- 
lection. 

ETIENNE  FICQUET. — This  famous  engraver  of  miniature 
portraits  was  born  in  1719,  and  was  a pupil  of  Schmidt  and  Le 
Bas.  He  died  in  Paris  in  1794.  His  principal  works  are  the 
series  of  small  portraits  of  distinguished  literary  characters  of 
France,  and  portraits  of  Mme.  de  Maintenon,  Rubens  and  Van 
Dyck.  His  portraits  are  exquisite  in  drawing  and  expression, 
and  possess  marvelous  precision  and  delicacy  of  technic. 
Owing  to  their  great  delicacy  they  are  exceedingly  scarce  in 
fine  impressions. 

140.  Madame  de  Maintenon.— After  Mignard. 

1 41.  Portrait  of  Van  Dyck. 

142.  Portrait  of  La  Fontaine.  — After  Rigaud.  With  the 
vignette  of  a Wolf  and  Lamb  below. 

71 


CHARLES  CLEMENT  BERVIC.  — Bervic  was  born  in  Paris 
in  1756,  and  was  Wille’s  most  eminent  pupil.  Few  engravers 
have  equaled  him  in  technical  skill.  His  reputation  was  estab- 
lished upon  the  appearance,  in  1790,  of  his  famous  full-length 
portrait  of  Louis  XVI.  This  was  followed  by  other  important 
works,  among  them  “ The  Kducation  of  Achilles  ” and  its  com- 


143.  Charles  Clement  Bervic  : Louis  XVI 


panion  piece  “ The  Rape  of  Dejaneira,”  and  that  marvel  of  tech- 
nical skill,  the  “ Laocoon.”  Bervic  was  an  artist  of  the  classical 
school,  and  his  works  contrast  strongly  with  those  of  Boucher 
and  Le  Bas,  so  universally  popular  at  the  time.  He  surpassed 
his  master,  Wille,  but  cannot,  in  point  of  art,  be  classed  with 
Fdelinck  and  the  Brevets,  yet  through  him  the  best  traditions 

72 


of  his  art  survived.  He  advised  his  pupils,  among  whom  were 
Toschi  and  Henriquel-Dupont,  to  avoid  servile  imitation,  and  to 
cultivate  originality  of  style.  Bervic  received  many  honors, 
houis  XVI  gave  him  apartments  in  the  houvre,  although  after 
the  King’s  death  he  became  a revolutionist.  He  was  a member 


145.  Charles  Clement  Bervic  : Rape  of  Dejaneira 


of  the  Institute  of  France  and  of  most  of  the  Academies  of 
Kurope,  and  in  1819  the  Fegion  of  Honor  was  conferred  upon 
him.  He  died  in  Paris  in  1822. 


73 


143-  Louis  XVI  in  his  Coronation  Robes. — From  the  painting 
by  CalLt  at  Versailles.  Rare  proof  with  only  the  names  of  the 
artists  and  address  of  the  engraver,  also  his  signature  in  pencil. 
This  plate  bears  the  mark  of  the  terrible  Revolution.  After  the 
first  impressions  were  taken  the  king  was  beheaded  and  Bervic, 
who  had  become  a revolutionist,  broke  his  plate,  and  destroyed 
the  remaining  impressions.  The  plate  was  afterwards  skillfully 
repaired,  but  the  subsequent  impressions  show  a crease  where  it 
was  injured.  (Illustration,  page  72.) 

144.  The  Education  of  Achilles.  — After  Regnault.  The 
painter  Carle  Vernet,  at  the  age  of  20,  is  said  to  have  served  as 
the  mo  "el  for  Achilles.  Before  the  title,  and  with  the  names  of 
the  artists  and  the  registration  only.  Original  in  the  Louvre. 

145.  The  Rape  of  Dejaneira. — After  Guido  Reni.  Original 
in  the  Louvre.  (Illustration,  page  73.) 

146.  Laocodn.  — From  the  antique.  Proof  before  letters, 
with  Bervic’s  name  and  that  of  Ramboz  as  printer. 

PIERRE  ALEXANDER  TARDIEU.— This  celebrated  engraver 
worked  in  Paris,  where  he  was  born  in  1756.  He  was  a pupil  of 
J.  G.  Wille,  whose  teachings  he  transmitted  to  Desnoyers  and 
other  nineteenth  century  engravers,  thus  forming  a connecting 
link  with  the  great  masters  of  the  past.  His  principal  portrait, 
that  of  the  Bari  of  Arundel,  is  a masterpiece.  He  also  engraved 
a few  subjects  of  which  the  example  given  below  is  his  most 
important  work.  He  died  in  1844. 

147.  The  Communion  of  St.  Jerome. — From  Domenichino’s 
famous  painting  for  the  principal  altar  of  San  Girolamo  della 
Carita,  and  now  in  the  Vatican.  For  this  plate,  engraved  in 
1821  and  exhibited  in  1822,  Tardieu  received  the  Legion  of 
Honor  and  admission  to  the  Institute. 

AUGUSTE  BOUCHER-DESNOYERS.  — This  eminent  en- 
graver was  born  in  Palis  in  1779.  At  first  he  worked  in  the 
dotted  manner,  and  at  the  age  of  twenty  received  a prize  at  the 
Salon.  He  entered  the  studio  of  Tardieu,  one  of  Wille’s  ablest 
pupils,  and  studied  line  engraving  and  etching.  In  1804  he 
engraved  one  of  his  best  plates,  “La  Belle  Jardiniere,”  and  in 
1808  appeared  his  famous  portrait  of  the  Bmperor  Napoleon, 
which  was  exhibited  in  the  Salon  of  1810.  Desnoyers  shared 

74 


honors  with  Bervic,  and  his  career  was  but  little  affected  by  the 
wars  and  changes  through  which  he  passed.  He  was  elected 
into  the  Institute,  appointed  engraver  to  the  king,  created  a 
baron  and  decorated  with  the  Cross  of  the  I^egion  of  Honor.  He 
died  in  Paris  in  1857. 


151.  A.  Boucher-Desnoyers  : Napoleon 


Desnoyers  is  famous  chiefly  for  his  subjects  after  Raphael 
and  his  portraits  after  Gerard.  The  great  series  of  engravings 
of  Raphael’s  Madonnas  covered  the  entire  useful  period  of  his 
life,  the  dates  ranging  from  1804  to  1846.  His  fine  engraving  of 
Leonardo’s  “Vierge  aux  Rochers”  ranks  with  these  works. 
Desnoyers  was  a draughtsman  of  great  ability.  His  subjects  are 

75 


more  interesting  than  those  of  Bervic,  although  the  latter  sur- 
passed him  both  as  artist  and  engraver. 

148.  La  Belle  Jardiniere. — After  Raphael.  Open  Letter 
Proof.  The  Virgin  and  Child  with  the  infant  St.  John.  Orig- 
inal in  the  Louvre. 

149.  La  Vierge  Aux  Rochers. — After  Leonardo  da  Vinci. 
With  the  stamp  of  the  two  antique  heads. 

150.  Ste.  Marguerite. — After  Raphael.  With  “ Ste.  Mar- 
guerite ” in  the  border  but  with  no  other  inscription.  This  im- 
pression is  said  to  be  the  only  proof  in  this  early  state  in  ex- 
istence. Engraved  in  1832. 

15 1.  Napoleon  in  His  Coronation  Robes. — After  Gerard.  With 
the  name  only,  and  before  names  of  the  artists.  These  rare 
proofs  were  taken  for  the  Emperor.  (Page  75.) 

152.  Portrait  of  Thomas  Jefferson. — In  the  dotted  manner. 

CLAUDE  FERDINAND  GAILLARD.— This  eminent  painter 
and  engraver  was  born  in  Paris  in  1834,  and  died  in  1887.  He 
was  a pupil  at  the  Ecole  des  Beaux-Arts,  and  won  the  Prix  de 
Rome  as  an  engraver  in  1856.  His  work  is  a marvel  of  minute- 
ness, accuracy  and  precision.  His  works,  especially  his  por- 
traits, are  very  highly  esteemed.  He  generally  created  many 
states  of  his  plates,  printing  from  the  earlier  states  only  a few 
impressions  in  an  exquisite  manner.  The  impressions  ordi- 
narily met  with  were  taken  after  the  plates  were  steel-faced. 

153.  L’Homme  a POeillet. — After  Van  Eyck. 

154.  L’Oedipe.  Aedipus  Consulting  the  Sphinx. — After 
Ingres.  With  the  name  of  artist  in  traced  letters.  On  India 
paper. 

155.  Soeur  Rosalie. — Not  only  a remarkable  portrait  of  this 
charitable  woman,  but  a type  of  the  Sisters  of  St.  Vincent  de 
Paul.  The  remarque  is  a portrait  of  the  founder  of  the  order. 

LOUIS  PIERRE  HENRIQUEL-DUPONT.— This  eminent  mas- 
ter stands  foremost  among  the  engravers  of  our  own  generation. 
He  was  born  in  Paris  in  1797,  and  died  in  1892,  in  his  95th 
year.  At  first  a pupil  of  the  painter  Pierre  Guerin,  he  afterward 
devoted  himself  to  engraving,  and  entered  the  studio  of  Bervic. 
Henriquel  was  an  artist  of  great  versatility,  a master  of  all  the 

76 


resources  and  processes  of  his  art,  and  was  also  famous  for  his 
works  in  crayon  and  pastel.  As  a teacher  at  the  hicole  des  Beaux- 
Arts  he  continued  the  noble  traditions  of  his  art  to  our  own 
time.  He  was  a member  of  the  Institute  and  a Commander  of 
the  Legion  of  Honor.  Many  of  his  best  works,  subjects  and 
portraits,  are  after  Paul  Delaroche. 

156.  The  Mystical  Marriage  of  St.  Catharine. — After  Correg- 
gio. Artist’s  proof,  signed. 

JULES  FERDINAND  JACQUEMART.— This  eminent  etcher 
and  painter  in  water-colors  was  born  in  Paris  in  1837,  the  son 
and  pupil  of  the  art  collector  and  connoisseur,  Albert  Jacque- 
mart,  author  of  the  “ Histoire  de  la  Porcelaine,”  for  which  work 
he  etched  the  plates.  He  also  etched  the  marvelous  plates  for 
Barbet  de  Jouy’s  “ Gemmes  et  Joyeaux  de  la  Couronne.”  His 
other  works  include  many  etchings  from  paintings,  landscapes, 
flower-pieces,  ornaments,  portraits,  etc.,  but  his  fame  rests  upon 
his  marvelous  rendering  of  still-life  in  which  no  one  else  has 
ever  quite  equaled  him.  The  textures,  lustre  and  subtle  reflec- 
tions of  precious  stones,  crystal,  porcelains,  vases,  chased 
metals,  etc.,  show  exquisite  taste,  delicacy  and  beauty,  and  are 
drawn  with  unerring  accuracy.  During  the  latter  part  of  his 
life,  owing  to  failing  health,  he  abandoned  etching  and  devoted 
himself  to  water-color  painting.  He  died  in  Nice  in  1880. 

157.  Trepied  Cisele  Par  Gouthiere. — First  state  of  this  ex- 
quisite masterpiece. 

158.  Histoire  de  la  Porcelaine. — Plate  (28).  Cups  and  Plate. 
First  state. 

159.  Gemmes  et  Joyeaux. — Statuette,  with  ornamented 
pedestal.  First  state. 

CHARLES  MERYON. — Meryon  was  born  in  Paris  in  1821. 
At  the  age  of  sixteen  he  entered  the  naval  school  at  Brest  and 
afterward  sailed  around  the  world,  during  which  time  he  made 
views  of  various  countries.  He  returned  to  Paris  in  1846  and 
devoted  himself  to  art.  Color-blindness  soon  put  an  end  to  his 
career  as  a painter,  and  he  then  turned  his  attention  to  etching, 
in  which  art  he  was  greatly  influenced  by  the  works  of  the  Dutch 
artist  Renier  Zeeman.  He  soon  entered  upon  his  great  work, 
his  views  of  Old  Paris.  The  curious  architecture  of  the  mediaeval 


77 


city  was  then  being  rapidly  demolished,  and  M^ryon  set  to  work 
to  obtain  memorials  of  many  of  the  picturesque  streets  and 
structures.  At  first  his  work  met  with  little  recognition,  and  it 
was  often  with  great  difficulty  that  he  could  dispose  of  the 
prints,  now  so  precious,  to  obtain  means  of  living.  Of  mel- 
ancholy disposition,  he  became  morbidly  sensitive,  repulsed 
every  attempt  to  patronize  him,  and  soon  became  hopelessly 
insane.  He  died  at  Charenton  in  1868.  The  famous  series 
“Baux-fortes  sur  Paris,”  contains  his  best  work.  His  poetic 
rendering  of  the  architecture  of  old  Paris  is  intensely  interesting 
and  personal  in  character,  unlike  the  work  of  any  other  artist  in 
sentiment  and  in  execution.  His  plates  number  about  a hundred 
and  were  generally  finished  with  the  dry-point  and  graver. 

160.  Le  Stryge.  The  horned  and  winged  demon  of  stone, 
on  an  angle  on  the  heights  of  Notre  Dame,  surveys  the  city ; 
the  tower  of  St.  Jacques  in  middle  distance,  and  the  hill  rising 
toward  Montmartre.  Second  state.  Only  a few  impressions  in 
the  first  state  are  known  and  have  the  lines, 

^'‘Insatiable  Vampire.  VHernelle  Luxure 
Sur  la  Grande  Cilb  convoile  sa  pdlure^ 

161.  Le  Petit  Pont. — The  view  is  taken  from  the  towing 
path,  just  above  the  level  of  the  water.  The  bridge,  of  three 
arches,  is  in  front.  Tall  houses,  beginning  at  the  left,  recede 
into  the  distance,  and  above  them  rise  the  towers  of  Notre  Dame. 
Second  state.  With  C.  M.  in  the  corner,  but  before  any  other 
letters. 

r62.  La  Tour  de  L^Horloge. — The  Seine  low  in  the  fore- 
ground, and  the  Pont  au  Change  with  a barge  below  its  arch. 
The  Palais  de  Justice  occupies  the  greater  part  of  the  picture. 
First  state.  With  C.  M.  in  corner,  and  no  other  letters. 

163.  L’ Arche  du  Pont  Notre  Dame. — The  view  is  taken  almost 
from  the  water’s  level  and  consists  chiefly  of  the  arch  of  the 
bridge.  First  state. 

164.  La  Pompe  Notre  Dame. — The  engine-house,  with  tower, 
supported  on  woodwork.  Behind  are  the  towers  of  Notre  Dame. 
Second  state. 

165.  Portrait  of  Meryon. — Btched  by  Bracquemond.  Signed 
proof. 


78 


ENGRAVING  IN  ENGEAND. 


THK  history  of  engraving  in  England  presents  little  of 
interest  before  the  middle  of  the  seventeenth  century. 
But  if  late  in  its  development,  the  school  became  re- 
markable both  for  excellence  and  versatility;  for  its  achieve- 
ments in  line,  stipple,  and  mezzotint,  and  for  its  services  in  the 
revival  and  development  of  wood-engraving.  In  our  own  time 
England  has  produced  a number  of  etchers  whose  works  rival, 
in  some  respects,  any  which  have  appeared  since  the  days  of 
Rembrandt. 

The  earliest  engravings  produced  in  England  were  principally 
maps,  and  title-pages  and  illustrations  for  books.  Occasionally 
an  important  portrait  was  issued  separately . The  earliest  English 
engraver  whose  name  has  reached  us  was  Thomas  Geminus, 
who  engraved  copper-plate  illustrations  for  Vesalius’  Anatomy, 
first  published  in  1545,  and  for  other  works  rudely  illustrated. 
Most  of  these  early  prints,  however,  were  the  work  of  foreign 
engravers,  of  whom  many  went  to  England  during  the  reign  of 
Elizabeth  and  her  successor,  among  them  the  Flemish  engravers 
Remigius  and  Franz  Hogensberg,  Theodore  De  Bry,  who  emi- 
grated from  Iviege,  and  the  Dutch  engravers  Reginald  Elstracke 
and  the  family  of  De  Passe.  Of  the  native  engravers  of  this 
period  William  Rogers,  Francis  Delaram  and  John  Payne  were 
the  most  important.  The  portrait  of  Archbishop  Parker,  a con- 
spicuous art  patron  of  the  time  of  Elizabeth,  engraved  in  1573 
by  Remigius  Hogensberg,  was  considered  by  Vertue  to  have  been 
the  first  portrait  engraved  in  England.  William  Rogers  was  one 
of  the  earliest  English  engravers  who  practiced  the  art  as  a pro- 
fession. His  most  famous  work  is  a portrait  of  Queen  Elizabeth. 
The  works  of  John  Payne  were  the  first  to  show  any  consider- 
able skill.  The  works  of  these  early  engravers  are  valuable 
chiefly  for  authentic  portraits  of  many  important  persons,  but 
most  of  them  have  little  merit  as  works  of  art.  During  the  reign 
of  Charles  I,  who  was  a great  patron  of  art,  many  foreign  artists 
visited  England,  among  them  the  painter  Van  Dyck  and  the 
engravers  Hollar  and  Vorsterman.  The  example  of  these  artists 

79 


did  much  to  develop  the  native  talent,  although  the  English 
engravers  as  a body  did  not  become  important  until  the  advent 
of  mezzotint  engraving. 

WILLIAM  FAITHORNE.— Faithorne  was  born  in  London  in 
i6i6,  and  was  the  earliest  of  the  English  engravers  whose  works 
compared  favorably  with  those  produced  on  the  continent.  He 
was  a pupil  of  Sir  Robert  Peak,  painter,  engraver  and  print- 
seller.  His  early  work  was  in  the  manner  of  the  Dutch  and 
Flemish  engravers,  but  during  the  Civil  War,  in  which  he  was 
taken  prisoner,  he  went  to  Paris,  where  he  studied  under  Nan- 
teuil,  and  his  subsequent  works  were  engraved  in  that  master’s 
best  style,  although  they  remained  English  in  character.  Re- 
turning to  London  soon  after  the  middle  of  the  century,  he  estab- 
lished himself  as  an  engraver  and  printseller.  His  portraits  be- 
came the  fashion,  and  his  studio  was  the  resort  of  the  art  dille- 
tanti.  His  prints,  chiefly  portraits,  possess  great  richness  and 
color,  and  represent  many  eminent  persons  of  his  time,  mostly 
his  own  countrymen.  He  died  in  London  in  1691. 

166.  Portrait  of  John  Bulwer. — ^First  state. 

GEORGE  VERTUE. — The  engraved  works  of  George  Vertue, 
born  in  London  in  1684,  are  chiefly  of  historical  value.  He  en- 
graved a multitude  of  portraits,  views  of  buildings,  towns,  ruins, 
etc.,  and  was  an  indefatigable  collector  of  books,  prints  and  an- 
tiquities, and  of  information  about  art  and  artists.  His  volum- 
inous notes  and  memoranda,  now  in  the  British  Museum,  formed 
the  basis  of  Horace  Walpole’s  “Anecdotes  of  Painting  in  Eng- 
land.’’ Many  of  Vertue’s  portraits  are  the  only  authentic  like- 
nesses of  the  persons  they  represent,  and  if  they  do  not  possess 
any  great  artistic  or  technical  merit,  they  at  least  have  the  ad- 
vantage of  scrupulous  fidelity  to  their  originals.  Vertue  was  a 
man  of  great  industry  and  integrity,  and  was  highly  esteemed  in 
his  own  time.  He  died  in  1756,  and  was  buried  in  Westminster 
Abbey. 

167.  Francis  Beaumont. — Dated  1729. 

168.  John  Fletcher. — Dated  1729. 

FRANCESCO  BARTOLOZZI. — This  famous  engraver  was  born 
in  Florence  in  1727.  After  studying  engraving  in  Venice,  under 
Joseph  Wagner,  he  went  to  England,  in  1764,  and  practiced  his 

80 


art  in  lyondon  until  1802,  when  he  went  to  Portugal.  He  died 
in  I^isbon  in  1815. 

Bartolozzi  was  a skillful  and  prolific  engraver.  His  prints, 
upon  many  of  which  he  was  assisted  by  his  pupils,  exceed  2,000 
in  number,  and  represent  almost  every  form  of  engraving, 
although  he  became  famous  by  his  works  in  stipple.  When  he 
arrived  in  I^ondon  the  stipple  process  had  come  into  great  favor, 
and  Bartolozzi,  who  always  catered  to  the  popular  taste,  soon 


172.  Francesco  Bartolozzi : Diana  and  Nymph 


became  its  leading  exponent.  Among  his  works  in  this  manner 
are  some  fine  portraits,  but  the  prints  by  which  he  became  best 
known  were  from  the  pretty  and  graceful  designs  of  Angelica 
Kauffman  and  Cipriani,  mostly  trivial  subjects,  and  printed 
in  red  or  brown.  But  however  severely  these  works  may  be 
criticised  from  an'  artistic  standpoint,  there  is,  nevertheless,  a 
certain  charm  about  them  that  gained  for  Bartolozzi  a wider 
popularity  than  has  been  accorded  to  any  other  engraver,  except 
possibly  Raphael  Morghen.  Bartolozzi  also  engraved  many 

81 


plates  after  old  masters  and  contemporary  artists,  of  which  some 
of  the  best  are  in  line.  Although  as  an  engraver  he  was  inferior 
to  his  contemporaries  Strange,  Wollett  and  Sharp,  he  enjoyed 
greater  reputation  than  any  of  them,  and  upon  the  foundation 


175.  Sir  Robert  Strange  : Charles  I 


of  the  Royal  Academy  in  1769,  with  Sir  Joshua  Reynolds  at  its 
head,  he  was  invited  to  become  an  Academician,  an  honor  from 
which  they  were  excluded. 

169.  Clytie. — After  Annibale  Caracci.  hine.  Proof  with 
the  Coat  of  Arms  and  names  of  the  artists  in  traced  letters, 

82 


170.  Mary  Queen  of  Scots,  with  her  little  son  Janies  I. — After 
Zuccaro.  Line. 

1 71.  Lord  Mansfield. — After  Sir  Joshua  Reynolds.  Stipple. 
Proof  with  the  names  of  the  artists  and  Published  as  the  Act 
directs^  24  Aug.^  ^7^6^  etc.,  in  traced  letters. 

172.  Diana  and  Nymph. — After  Angelica  Kauffmann.  Stip- 
ple. From  the  John  Barnard  collection. 

SIR  ROBERT  STRANGE. — This  eminent  line  engraver  was 
a Scotsman,  born  on  the  island  of  Pomona,  in  the  Orkneys,  in 
1721.  He  studied  engraving  at  Edinburgh,  where  he  practiced 
for  a time,  but  becoming  a refugee  after  the  battle  of  Culloden 
he  went  to  Paris,  and  became  a pupil  of  Le  Bas.  He  returned 
to  London  in  1751,  and  soon  established  his  reputation  by  a num- 
ber of  fine  engravings  after  Guido.  In  1761  he  went  to  Italy, 
where  he  remained  about  five  years.  He  was  received  with 
great  distinction  as  one  of  the  foremost  engravers  of  his  time. 
He  studied  the  works  of  the  Italian  colorists,  and  made  many 
drawings  from  famous  paintings,  some  of  which  he  engraved  in 
Italy,  others  after  his  return  to  London.  He  was  knighted  by 
George  HI.  He  died  in  London  in  1792. 

Strange  excelled  in  his  subjects  after  Italian  masters  and  in 
his  portraits  after  Van  Dyck.  His  technical  skill  was  great,  and 
his  works  possess  a peculiar  charm  and  originality  of  style, 
and  are  remarkable  for  breadth,  softness,  refinement  and  vigor, 
but  are  often  defective  in  draughtsmanship  and  distinctions  of 
color.  He  used  the  dry-point  with  great  effect  in  producing 
rich,  warm  flesh  tints. 

173.  The  Madonna  and  Angels  with  the  Magdalen  and  St. 
Jerome,  called  II  Giorno  (The  Day).  After  Correggio.  Strange 
made  the  drawing  for  this  print  at  Parma  in  1763.  The  plate 
was  engraved  in  London  in  1771. 

174.  Charles  I. — Standing  by  his  horse,  which  the  Marquis 
of  Hamilton,  as  equerry,  is  holding.  From  Van  Dyck’s  paint- 
ing in  the  Louvre. ' Open-letter  proof. 

175.  Charles  I.  in  his  royal  robes. — After  Van  Dyck.  At  the 
time  of  engraving,  the  picture  was  owned  by  Strange.  It  is  now 
at  Windsor  Castle, 


83 


WILLIAM  WOOLLETT,  England’s  gieat  landscape  and  his- 
torical engraver,  was  born  at  Maidstone,  in  Kent,  in  1735.  At 
an  early  age  he  went  to  London,  where  he  passed  the  remainder 
of  his  life.  He  received  some  instruction  from  John  Tinney,  an 
obscure  engraver  and  printseller,  but  owed  very  little  to  the 
schools.  His  first  important  plate,  the  famous  “Niobe,”  ap- 
peared in  1761,  and  established  his  reputation.  Soon  afterward 
appeared  the  fine  landscapes  known  as  the  First  and  Second 
Premium  Prints,  after  the  Smiths  of  Chichester,  and  in  1772  his 


176.  William  Woollett : Niobe 

masterpiece  iii  landscape,  “Roman  Edifices  in  Ruins,”  after 
Claude  Lorraine,  was  published.  Claude’s  influence  upon  land- 
scape engraving  is  well  illustrated  in  the  last  named  plate.  The 
atmospheric  effects  and  subtle  tonality  of  the  original  are  most 
faithfully  and  delicately  rendered.  Woollett  was  equally  success- 
ful in  his  engravings  of  historical  subjects.  The  best  examples 
are  “The  Death  of  General  Wolfe”  and  “The  Battle  at  La 
Hogue,”  after  Benjamin  West,  both  masterpieces.  There  are 
also  some  portraits  and  illustrations.  Woollett  was  a most  con- 

84 


scientious  artist.  No  sacrifice  of  time  or  labor  was  too  great  t o 
obtain  perfection.  His  works  show  the  greatest  originality  in 
style,  and  complete  mastery  of  the  technique  of  . his  art.  He  is 
described  as  simple  and  unpretending  in  manner,  extremely 
patient  and  industrious,  and  a truly  good  man.  He  died  in 
1785.  Some  years  later  a memorial  was  raised  to  his  honor  in 
Westminster  Abbey. 

176.  Niobe.^ — After  Richard  Wilson.  Artists’  proof  before 
all  letters.  Of  the  greatest  rarity.  Only  a few  impressions  in 
this  state  are  known. 

177.  Roman  Edifices  in  Ruins. — After  Claude  Lorraine. . Trial 
proof,  Fagan’s  second  state. 

178.  The  Same. — First  published  state,  on  India  paper. 

179.  The  Battle  at  La  Hogue. — After  Benjamin  West. 

WILLIAM  SHARP. — This  eminent  line  engraver  was  scarcely 
less  renowned  than  Strange  or  Woollett.  Among  his  works  are 
masterpieces,  subjects  and  portraits,  unsurpassed  for  boldness 
and  picturesque  effect.  Sharp  was  born  in  London  in  1749  and, 
like  Masson,  commenced  as  an  engraver  of  ornamental  work. 
His  prints  number  about  230,  and  include  fine  subjects  after  the 
Italian  masters,  historical  pieces  after  West  and  Trumbull,  and 
about  70  portraits.  Sharp’s  style  was  original  and  masterly,  and 
his  works  were  highly  esteemed  throughout  Furope.  Personally, 
he  was  weak,  simple  and  superstitious.  He  died  in  London  in 
1824,  and  was  the  last  of  the  great  line  engravers  of  Fngland. 

180.  The  Doctors  of  the  Church. — Kngraved  in  1785  from  the 
painting  by  Guido,  now  in  the  Hermitage  at  St.  Petersburg. 
It  represents  the  four  Latin  Doctors  of  the  Church,  St.  Jerome, 
St.  Augustine,  St.  Ambrose  and  St.  Gregory,  who  with  St.  John 
Damascene  and  St.  Ildefonso  are  arguing  about  the  great  Cath- 
olic doctrine  of  the  Immaculate  Conception.  St.  Luke,  Ch.  I, 
V.  49.  Before  the  title.  With  the  artists’  names  and  coat  of 
arms,  and  Published  Sept,  /,  1785^  etc.,  in  traced  letters. 

1 81.  Diogenes  in  Search  of  an  Honest  Man. — After  Salvator 
Rosa.  Before  the  title.  With  engraver’s  name  and  Published 
ist  Aprils  1792^  etc.,  in  traced  letters. 

182.  The  Sortie  from  Gibralter.  — After  Trumbull.  Proof 

with  open  and  traced  letters.  . 


85 


183.  John  Hunter. — After  Sir  Joshua  Reynolds.  Proof  before 
the  title,  with  the  names  of  the  artists  and  the  address  traced 
with  the  needle.  Sharp’s  best  portrait. 

MEZZOTINT. 

Mezzotint  engraving  was  invented  by  Eudwig  von  Siegen, 
an  officer  in  the  service  of  William  VI,  Eandgrave  of  Hesse. 
His  portrait  of  the  Tan dgra vine  Amelia  Elizabeth,  dated  1642, 
is  the  earliest  known  print  engraved  in  this  manner.  Van 
Siegen  communicated  the  secret  to  Prince  Rupert,  artist  and 
soldier,  who  greatly  improved  the  art  and  introduced  it  into 
England,  where  for  a long  time  he  was  honored  as  its  invent- 
or. His  finest  print,  “The  Great  Executioner,”  after  Spag- 
noletto,  is  a work  of  considerable  artistic  effect,  bold  and 
masterly  in  treatment.  Prince  Rupert  disclosed  the  process  to 
Wallerant  Vaillant,  a portrait  painter  of  Amsterdam,  who  prac- 
ticed it  with  great  success,  and  to  William  Sherwin,  who  en- 
graved the  first  English  mezzotint  bearing  a date,  a portrait  of 
Charles  II,  dated  1669.  He  also  gave  his  small  plate  of  the 
head  of  the  “Executioner”  to  John  Evelyn,  who  published  it  in 
the  first  edition  of  the  Sculptura.  The  engravers  Fiirstenberg, 
Eutterel,  Thomas  of  Ypres  and  Blooteling  also  belong  to  the 
early  period,  and  were  among  the  first  who  employed  the  scrap- 
ing process.  Soon  afterward  the  process  became  well  known, 
but  outside  of  Holland  and  England  mezzotint  has  never  been 
practiced  to  any  considerable  extent. 

Toward  the  close  of  the  seventeenth  century  Isaac  Becket 
and  his  pupil  John  Smith  brought  the  art  into  great  favor,  and 
early  in  the  eighteenth  century  there  were  many  mezzotint  en- 
gravers, native  and  foreign,  working  in  England.  The  French 
engraver  John  Simon  and  the  Dutch  engraver  John  Faber  soon 
became  the  rivals  of  Smith  and,  like  him,  engraved  many  fine 
portraits  after  Sir  Godfrey  Kneller  and  other  painters  of  this 
period.  About  the  middle  of  the  centmry  the  art  languished, 
but  with  the  appearance  of  the  Irish  engraver,  Mac Ar dell,  and 
the  great  school  of  portrait  painters,  it  soon  entered  upon  the 
brightest  period  of  its  history.  The  works  of  Reynolds,  Rom- 
ney and  Gainsborough,  and  their  contemporaries,  like  those  of 
Van  Dyck,  Rubens  and  Rembrandt,  were  especially  suitable  for 

86 


reproduction  in  mezzotint,  and  are  illustrated  by  some  of  the 
most  beautiful  engravings  ever  produced  by  the  engraver’s  art. 
On  the  continent  the  process  became  known  as  la  mani^re 
anglaise. 

Although  mezzotint  has  been  practiced  almost  wholly  as  an 


184.  John  Faber:  Elizabeth,  Duchess  of  Hamilton  and  Brandon 


interpretative  art,  yet  the  delicacy,  subtlety  and  diversity  of 
the  effects  produced  has  given  to  the  works  of  its  masters  an 
individual  character  and  charm. 

87 


JOHN  FABER,  The  Younger.  — This  eminent  mezzotint 
engraver  was  born  in  Holland  in  1684,  and  went  to  Kngland 
soon  after  the  beginning  of  the  eighteenth  century.  At  this 
time  mezzotint  engraving,  under  the  patronage  of  Sir  Godfrey 
Kneller,  had  come  into  great  favor,  and  Faber  and  his  contem- 
porary, John  Smith,  became  the  foremost  engravers  in  this  man- 
ner. Faber’s  prints  represent  many  eminent  persons  of  his 
time,  and  bear  dates  ranging  from  1712  to  1756.  They  are  en- 
graved with  great  care,  and  show  constant  improvement,  becom- 
ing bold,  finished  and  masterly  toward  the  close  of  his  career. 

184.  Elizabeth,  Duchess  of  Hamilton  and  Brandon.  — After 
Hamilton.  Second  daughter  of  John  Gunning,  Fsq.,  of  County 
Roscommon.  One  of  three  sisters,  who  were  famous  beauties. 
The  very  rare  first  state.  After  a few  impressions  were  taken, 
the  plate  was  reduced  in  size.  (Illustration,  page  87.) 

JAMES  MacARDELL. — This  eminent  engraver,  one  of  the 
foremost  masters  in  mezzotint,  was  born  in  Dublin  in  1729.  At 
an  early  age  he  went  to  London,  where  his  talents  and  genial 
disposition  were  duly  appreciated  by  the  great  artists.  He  was 
an  especial  favorite  with  Sir  Joshua,  who  stated  that  if  the  col- 
ors of  his  paintings  faded,  his  fame  would  still  be  preserved  by 
MacArdell’s  engravings.  His  beautiful  portraits  after  Rey- 
nolds, Van  Dyck,  Rubens  and  others  have  seldom  been  equaled. 
He  also  engraved  some  fine  subjects.  MacArdell’s  works  show 
great  power  and  originality,  united  with  refined  taste  and  sur- 
passing technical  skill.  His  early  death,  in  his  thirty-seventh 
year,  was  a serious  loss  to  his  art.  About  the  middle  of  the 
eighteenth  century,  after  Smith  and  Faber  had  passed  away, 
the  art  had  languished,  but  with  MacArdell  a new  era  began, 
and  mezzotint  engraving  entered  upon  the  golden  period,  fam- 
ous for  its  beautiful  portraits.  MacArdell  improved  greatly 
upon  the  technic  of  his  predecessors,  adding  freedom,  boldness 
and  precision  by  combining  strong  etching  with  mezzotint,  a 
method  practiced  only  to  a limited  extent  before  his  time,  most 
of  the  earlier  works  having  been  engraved  in  pure  mezzotint. 

185. — Rubens  with  His  Wife  and  Child.  After  Rubens. 

RICHARD  EARLOM.  Earlom  was  born  in  London,  in  1743. 
He  was  a pupil  of  Cipriani,  but  abandoned  painting  to  become 

88 


a mezzotint  engraver.  He  died  in  1822.  As  MacArdell  ex- 
celled in  portraiture,  so  Barlom  became  famous  for  his  fine 
subjects.  He  was  a most  proficient  draughtsman,  and  one  of 
the  greatest  masters  of  the  technique  of  his  art,  combining 
and  harmonizing  etching  and  mezzotint  in  a manner  never 
excelled.  Of  many  of  his  works  he  made  elaborate  prelimi- 


186.  Richard  Earlom  : A Flower  Piece 


nary  etchings.  His  plates  are  very  numerous.  Earlom  engraved 
the  200  plates  of  'the  “Liber  Veritatis,”  in  the  style  of  the 
original  drawings  by  Claude  Lorraine.  His  masterpieces,  the 
Fruit  and  Flower-Pieces,  after  Van  Huysum,  show  the  possibil- 
ities of  mezzotint  in  the  direction  of  delicacy  of  tones,  minute 
finish,  clearness  and  transparency. 

89 


1 86.  A Flower-Piece.  After  Jan  Van  Huysum.  Proof 
before  the  motto  in  the  coat  of  arms  and  with  the  artists’  names 
traced.  (Illustration,  page  89.) 

187.  Liber  Veritatis.  Plate  number  17. 

VALENTINE  GREEN. — This  famous  mezzotint  engraver  was 
born  near  Birmingham  in  1739.  He  went  to  London  and  rose 
rapidly  into  favor,  receiving  many  marks  of  distinction.  He 
shares  vnth  Mac  Ardell  and  Karlom  the  merit  of  having  brought 
his  art  to  perfection.  Green  devoted  great  care  and  labor  to  his 
historical  pieces  after  West,  and  to  subjects  after  the  old  masters, 
but  his  fame  now  rests  mainly  upon  his  portraits,  chiefly  after 
Reynolds,  engraved  about  1778-1785,  some  of  which  are  among 
the  most  beautiful  examples  of  the  art.  He  possessed  remark- 
able skill,  and  engraved  with  great  delicacy  of  touch.  He  was  an 
indefatigable  worker,  engraving  almost  400  plates,  covering  a 
period  of  nearly  forty  years.  He  died  in  London  in  1813. 

1 88.  Portrait  of  George  Washington. — Engraved  from  a paint- 
ing by  Trumbull,  then  in  the  possession  of  M.  De  Neufville,  of 
Amsterdam,  according  to  the  inscription.  Published  1781. 
Duplicate  from  the  Berlin  Museum.  This  is  one  of  the  rarest 
of  the  engraved  portraits  of  Washington,  although  not  a rep- 
resentative example  of  Green’s  work. 

SAMUEL  COUSINS. — This  eminent  mezzotint  engraver  was 
born  in  1801.  He  engraved  many  fine  plates  after  Lawrence, 
Reynolds,  Landseer,  Millais  and  others.  Some  of  his  works 
are  among  the  choicest  examples  of  the  art.  He  died  in  1887, 
after  a long  and  successful  career.  He  was  highly  esteemed, 
becoming  a Royal  Academician. 

189.  Pope  Pius  VII. — After  Sir  Thomas  Lawrence.  Open- 
letter  proof.  The  picture  is  at  Windsor  Castle.  In  drawing  and 
technic,  in  the  management  of  the  light,  and  on  account  of 
the  importance  of  the  subject,  this  remarkable  portrait  may  well 
be  placed  at  the  head  of  modern  mezzotint  engravings,  pre- 
serving in  a remarkable  degree  the  life  and  grandeur  of  the 
original. 

J.  M.  W.  TURNER.  — The  series  of  engravings,  published 
1807  - 1819,  under  the  title,  “ Liber  Studiorum,”  was  undertaken 


90 


for  the  purpose  of  rivalling  Claude’s  “ I^iber  Veritatis,”  engraved 
by  Barlom  a few  years  before.  The  series,  intended  to  illustrate 
landscape  composition,  consists,  in  its  incomplete  condition,  of 
seventy  plates.  From  his  own  sepia  and  pen  drawings  Turner 
etched  the  main  lines  of  his  compositions  in  a bold,  masterly 
manner,  relying  upon  mezzotint  to  bring  out  the  required 
tonality  and  effects.  In  some  of  these  plates  Turner  applied  the 
mezzotint,  but  generally  relied  upon  professional  assistance. 
Charles  Turner,  an  eminent  engraver  in  mezzotint,  was  his  prin- 
cipal assistant,  and  engraved  more  than  twenty  of  the  series. 

190.  The  Woman  with  the  Tamborine. — The  etching.  This 
plate  was  afterward  completed  in  mezzotint  by  Charles  Turner. 

191.  Junction  of  the  Severn  and  the  Wye. — One  of  the  most 
beautiful  of  the  Tiber  series.  The  entire  work  on  this  plate  was 
done  by  J.  M.  W.  Turner  and  shows  how  completely  he  had 
mastered  the  mezzotint  process.  Second  state. 

192.  Via  Mala.  From  a drawing  by  Turner,  engraved  by 
Frank  Short,  an  engraver  of  great  ability  of  the  present  time. 

As  Rubens,  in  the  seventeenth  century,  trained  a group  of 
engravers  to  interpret  his  works,  so  in  the  early  part  of  the 
nineteenth  century  arose  the  school  of  engravers  who  drew 
their  inspiration  from  J.  M.  W.  Turner.  The  works  of  these 
engravers  are  unsurpassed  for  delicate  manipulation,  perfection 
of  finish  and  marvelous  rendering  of  tones  and  subtle  distinc- 
tions and  values.  Their  technic  was  a combination  of  burin 
engraving  and  dry-point,  the  bur  being  removed.  Turner’s 
influence  upon  landscape  engraving  supplemented  that  of 
Claude,  and  in  these  works,  large  and  small,  the  perfection  of 
tone  engraving  appears  to  have  been  reached. 

193-200.  Eight  prints  from  Turner’s  ‘‘Rivers  of  France.” 

The  engravers  represented  are  Miller,  Cousen,  Allen,  Brand- 
ard  and  Higham. 

201.  Ancient  Italy.  After  Turner.  Engraved  by  J.  T. 
Willmore.  ^ 

SIR  DAVID  WILKIE  (1785-1841).  This  eminent  painter 
left  a few  etchings  and  dry-points,  of  which  the  masterly  ex- 


91 


amples  given  below  are  worthy  of  the  best  masters  of  the  art. 
Both  are  fine,  early  impressions. 

202.  The  Pope  Examining  a Censer.  Etching. 

203.  Gentleman  at  His  Desk.  Dry-point. 


HENRI  LEFORT. 

204.  Portrait  of  Washington.  Etching.  Remarque  proof. 

P.  M.  ALIX. 

205.  Portrait  of  Benjamin  Franklin.  Aquatint. 


92 


PART  II 


COLIvECTION  OF  WORKS  BY 

SIR  FRANCIS  SEYMOUR  HADEN,  P.  R.  E. 

PRESENTED  BY 

DR.  EREDERICK  H.  JAMES 


DR.  FREDERICK  H.  JAMES 

Dr.  Frederick  H.  James  was  born  in  Gloucestershire,  Eng- 
land, March  9,  1825.  The  family  came  to  this  country  while  he 
was  yet  a lad  and  settled  in  Rochester,  where  he  studied  medi- 


Dr.  Frederick  H.  James 


cine  and  practiced  his  profession  for  a time.  In  1863  he  moved 
to  Lancaster,  and  from  that  time  he  was  actively  interested  in 
the  business  and  social  interests  of  Buffalo,  occupying  many 
positions  of  trust  and  responsibility.  For  many  years  Dr.  James 

93 


was  a member  of  the  Board  of  Directors  of  the  Buffalo  Fine  Arts 
Academy,  and  was  its  President  in  1894.  His  energy  and 
strength  of  character,  clear  judgment  and  indomitable  will  made 
him  successful  in  every  undertaking.  His  high  ideals,  and 
taste  for  literature  and  art,  strengthened  with  his  years.  Per- 
sonally he  was  a most  companionable  man,  of  lovable  disposi- 
tion and  of  imposing  presence. 

In  1891  Dr.  James  presented  to  the  Academy  his  collection 
of  the  works  of  Sir  Seymour  Haden.  Shortly  before  the  artist’s 
visit  to  America,  in  1882,  Dr.  James  commenced  his  collection. 
He  purchased  the  finest  proofs  which  the  artist  brought  with 
him,  among  them  many  rare  and  unique  states.  He  steadily 
added  to  the  collection  until  his  death,  June  28,  1897.  The 
result  is  that  the  collection  is  one  of  the  finest  and  most  com- 
plete in  existence  ; indeed,  considering  its  high  quality,  it  is 
doubtful  if  its  equal  exists. 


SIR  FRANCIS  SEYMOUR  HADEN,  P.  R.  E. 

Sir  Francis  Seymour  Haden,  of  original  artists  of  modern 
times  the  foremost  etcher  of  landscapes  and  marine  subjects, 
was  born  in  Eondon  in  1818.  A busy  and  successful  Eondon 
surgeon,  his  artist  life  is  described  by  him  as  “only  a very  small 
episode  in  a long  and  laborious  career.”  In  1843-1844,  during 
an  enforced  period  of  relaxation,  he  traveled  with  friends  in 
Italy,  and  there  he  produced  his  first  etchings,  six  in  number, 
mostly  from  studies  in  water-color.  Of  two  of  these  a single 
impression  is  known.  Of  the  remainder  no  impressions  are 
known  to  exist.  For  fourteen  years  after  this  period  there  is 
no  record  of  any  published  plates.  According  to  the  catalogue 
published  by  Sir  William  Drake  in  1880,  and  Harrington’s 
supplement,  published  in  1903,  Haden ’s  work  consists  of  241 
plates,  almost  wholly  produced  between  the  years  1858  and  1885, 
although  his  work  extends  into  the  present  century. 

Mr.  Haden  was  introduced  to  the  public  by  the  eminent 
French  critic  Philippe  Burty,  who  published  an  article  upon 
him  in  the  “ Gazette  des  Beaux- Arts  ” in  1864,  with  a list  of  54 
plates.  In  1866  this  article  was  reprinted  with  slight  changes, 
and  with  it  was  published  a selection  of  25  etchings.  The  busy 
surgeon  and  successful  amateur  was  promoted  to  the  front  rank 

94 


of  painter-etchers.  An  artist  and  draughtsman  of  rare  ability, 
and  a master  of  technique,  his  work,  whether  in  etching,  dry- 
point  or  mezzotint  is  invariably  of  high  quality. 

Mr.  Haden  has  been  an  enthusiastic  collector  of  the  old 
masterpieces,  particularly  of  the  works  of  Rembrandt.  These 
he  studied  and  analyzed  with  great  care,  acquiring  in  this  way 
an  intimate  knowledge  of  the  artist’s  methods.  A keen  ob- 
server of  nature,  he  devoted  himself  chiefly  to  beautiful  English 
landscape  and  river  scenery,  which  he  portrayed  with  remark 


able  breadth,  directness,  vigor  and  simplicity.  His  work  has  a 
peculiar  charm  and  individuality.  By  his  example  and  writ- 
ings he  assisted  greatly  in  the  modern  revival  of  painter-etching, 
an  art  which  for  many  years  had  been  little  more  than  a seven- 
teenth-century tradition.  In  1880  he  was  elected  president  of 
the  Society  of  Painter-Etchers.  At  the  Paris  Exposition  of  1889 
his  etchings  won  the  “Grand  Prix,”  or  Medal  of  Honor,  and 
at  the  Exposition  of  1900  his  original  drawings  and  mezzotints 
won  the  same  supreme  distinction.  He  was  knighted  in  1894. 

95 


CATALOGUE 


A description  of  the  different  plates  and  their  states  will  be 
found  in  the  catalogue  of  Sir  William  Drake  and  Harrington’s 
Supplement,  which  will  be  furnished  on  application.  The  let- 
ters D.  and  H.  refer  to  those  works. 


1858 

1.  Arthur.  D.  7. 

Trial  proof  (c).  H. 

A portrait  of  the  artist’s  younger  son. 

2.  A Lady  Reading.  D.  9. 

Trial  proof  (b).  With  dedication  to  the  etcher,  La- 
lanne,  and  from  his  collection.  A portrait  of  Lady 
Haden.  Very  few  impressions  were  printed. 

3.  Amalfi.  D.  10. 

A.  Marked  (a.)  M on  s,  Lalanne^  Seymour  Haden. 

From  Lalanne  collection. 

B.  Published  state. 

Mr.  Haden  believes  this  was  drawn  on  the  plate  in  1843-4, 
but  is  not  sure  whether  it  was  bitten  in  then  or  later. 

1859 

4.  Thames  Fisherman.  D.  ii. 

First  state,  in  brown  ink  on  India  paper. 

Exhibited  at  the  Paris  Salon,  1859 ; Royal  Academy,  1861. 

5.  Kensington  Gardens.  D.  12.  The  small  plate. 

Second  state. 

Exhibited  at  the  Royal  Academy,  1861, 

96 


6. 


Mytton  Hall.  D.  13. 

A.  First  state. 

B.  Wood-cut  of  same  subject.  Mytton,  1864, 

Mytton  Hall  is  an  old  Henry  the  Seventh  house,  at  which 
Mr.  Haden  was  in  the  habit  of  staying  for  the  piurpose 
of  salmon  fishing  in  the  river  Kibble  (the  Lancashire 
River,  No.  162)  which  runs  past  it. 

Exhibited  at  the  Royal  Academy,  1864. 

7.  Mytton  Hall.  Drawing. 

8.  Egham.  D.  14.  • 

A.  First  state.  About  a dozen,  only,  printed. 

Mons.  Lalanne , first  state , Seymour  Haden. 

B.  Unique  proof  on  Chinese  paper  intermediate  between 
first  and  second  states.  There  are  three  birds  in  the  sky, 
signature  erased.  “To  Rose”  on  the  stern  of  one  of  the 
boats. 

C.  Third  state,  three  birds  in  the  sky. 

This  and  Egham  Lock  were  done  the  same  day  and  from 
the  same  spot,  one  looking  up  and  the  other  down  the 
river. 

Exhibited  at  the  Royal  Academy,  i860. 

9.  Egham  Lock.  D.  15. 

A.  First  published  state  on  thin  Japan  paper. 

B.  Same  mezzotinted.  One  of  the  first  five  proofs  taken. 

10.  Sub  Tegmine.  D.  16. 

Second  state.  After  about  thirty  impressions  were  taken 
the  plate  was  destroyed.  The  words  “Greenwich  Park, 
1859,’’  are  in  Mr.  Whistler’s  handwriting. 

11.  Out  of  Study  Window.  D.  17. 

A.  Trial  proof  (a).  Drake  states  that  a single  impres- 
sion only  was  taken.  From  Lalanne  collection.  Trial 
proof  (a)  before  the  signature,  S.  H.  Mons.  Lalanne, 
S.  Haden. 

B.  First  published  state. 

Exhibited  at  Royal  Academy,  1862. 

97 


12.  Fulham.  D.  i8. 

Trial  proof  (b). 

13.  On  the  Test.  D.  19. 

A.  Undescribed  trial  proof  before  Drake’s  trial  (a) 
marked  unique  trial  Aa,  From  Drake  collection. 

B.  Trial  proof  (d).  March  i8y8. 

The  Test,  in  Lancashire,  is  a famous  trout  stream. 

14.  A Water  Meadow.  D.  20. 

First  state. 

15.  Early  Morning,  Richmond.  D.  21. 

Second  state.  “To  Dasha”  (Lady  Haden)  appears  on 
one  of  the  trees,  “The  lark  at  heaven’s  gate  sings.” 

16.  Kidwelly  Town.  D.  22. 

First  state  on  Vellum. 

17.  Kidwelly  Castle.  D.  23. 

A.  Trial  proof  (a)  before  the  signature,  Mons.  Lalanne^ 
Seymour  Haden. 

B.  * Trial  proof  (b). 

Sketched  from  the  railway  station  while  waiting  for  the 
train. 

18.  The  Mouth  of  a Brook.  D.  24. 

Trial  proof  (b).  After  the  plate  was  cut  down.  “The 
best  piece  of  foliage  work  I think  I have  ever  done. 
Like  others  of  the  earlier  plates,  however,  it  was  laid 
aside  after  four  impressions  had  been  printed  and  when 
taken  up  again  was  past  recovery  from  oxidization. 
Plate  destroyed  after  six  impressions.” 

i860 

19.  Kensington  Gardens.  D.  26. 

The  larger  plate. 

A.  Unique  trial  proof.  Before  the  shadows  cast  by  the 
lower  limbs  of  the  large  tree.  On  India  paper.  Plate 
98 


8 inches  wide  and  more  than  ii%  inches  long;  lower 
plate  mark  cut  off. 

B.  Published  state. 

Exhibited  at  the  Royal  Academy,  i86i. 

20.  Stems.  A study.  D.  27. 

Published  state, 

21.  A By-Road  in  Tipperary.  D.  28. 

Second  state  on  thin  Japan  paper. 

The  plate  was  destroyed  after  about  twenty  impressions 
in  each  state  were  taken. 

Exhibited  at  Paris  Salon,  1864. 

22.  Combe  Bottom.  D.  29. 

A.  First  published  state. 

B.  Trial,  marked  prepared  for  second  state. 

23.  The  Holly  Field.  D.  30. 

Published  state. 

24.  A Cottage  Window.  At  Shere.  D.  33. 

Trial  proof  (b).  Two  or  three  impressions  only  exist. 
Had  not  been  bitten  in  when  Drake’s  Catalogue  and 
Supplement  were  published. 

25.  Shere  Mill  Pond.  D.  34.  A small  study. 

Plate  reduced.  Marked  unique  in  handwriting  of  Sir 
William  Drake. 

26.  Shere  Mill  Pond.  The  large  plate.  D.  35. 

First  state,  with  the  word  Shere  in  the  lower  left  corner, 
and  the  signature  Seymour  Haden,  i860,  in  the  right 
lower  corner.  (Illustration,  page  ico.) 

Proof  of  superb  quality  and  condition,  on  Japan  paper. 
Exhibited  at  the  Royal  Academy,  1863.  One  of  the 
artist’s  most  celebrated  works.  Mr.  Hamerton  con- 
sidered this  to  be  the  finest  etching  of  a landscape  subject, 
except  Claude’s  Bouvier. 

Exhibited  at  Royal  Academy,  1863. 


99 


1 862 


27.  Portrait  of  Francis  Seymour  Haden.  No.  3,  H.  188.  On 

one  of  the  sheets  of  paper  is  an  inscription  of  which  the 
words  ad  viv.  delvt.  can  be  made  out,  and  below,  Sey- 
mour Haden  ad  natu...  and  F.  Seymour  Haden ^ ad 
vivum  delineavit^  1862.  (Illustration,  page  95.) 

1863 

28,  Amsterdam.  D.  36. 

Five  sketches  of  the  Sea-face  of  Amsterdam,  and  below 
the  title  seven  lines  of  inscription  in  reverse.  Trial  proof 


26.  Sir  Seymour  Haden  ; Shere  Mill  Pond 


(a. ) Two  or  three  proofs  only  were  taken  and  the  plate 
was  divided  into  D.  37  and  38,  the  other  three  sketches 
being  destroyed.  From  Drake  collection. 


29.  Amstelodamum.  D.  37.  Third  sketch  from  last  above 
plate. 

A.  Trial  proof  (a).  Before  the  sky,  the  scroll  or  any 
writing.  From  Drake  collection. 


100 


B.  Trial  proof  (a)  with  Hie  Terminus  Haeret  written 
over  the  subject  in  pencil,  marked  Trial  before  banderol. 

C.  Undescribed  proof  with  Amstelodamum  and  Hie 
Terminus  Hceret  at  right  below  subject,  but  before  the 
signature  and  date.  Marked  Trial  [b^.  From  Burty 
and  Drake  collections. 

30.  Cranbrook.  D.  39. 

Second  state. 

31.  Dundrum  River.  D.  42. 

Trial  proof  (a). 

32.  The  Two  Asses.  D.  43. 

Published  state. 

33.  A Sunset  in  Ireland.  D.  44. 

A.  Trial  proof,  marked  rare  intermediate  state.  From 
Drake  collection.  A great  variety  of  proof  states  exists. 

B.  Further  intermediate  proof. 

Exhibited  Royal  Academy,  1863  ; Paris  Salon,  1864. 

This  plate  and  No.  21  were  done  in  the  park  of  Viscount 
Ha  warden,  in  the  most  beautiful  part  of  Tipperary. 

34.  Battersea  Reach.  D.  45. 

P'irst  state  on  Japan  paper.  Very  fine  early  impression 
before  the  “Gazette”  impressions  were  taken. 

Exhibited  at  Royal  Academy,  1864. 

35.  Whistler^s  House  at  Old  Chelsea.  D.  47. 

Published  state. 

36.  Near  the  Grande  Chartreuse.  From  a drawing  by  Turner. 

D.  49. 

A.  Unique  proof.  Printed  in  light  brown  by  the  artist 
with  ink  on  the  surface,  but  not  in  the  lines,  so  that  the 
lines  stand  out  white.  In  margin:  I do  not  send  the  plate . 
It  is  not  suffieiently  done  to  prove.  This  is  an  impres- 


lOI 


sion  with  ink  on  the  surface.  S.  H.  (Addressed  to  the 
printer,  Goulding). 

B.  Published  state.  Parts  of  the  etching  are  heightened 
with  mezzotint. 


1864 

37.  Thomas  Haden  of  Derby.  D.  51. 

First  published  state. 

Portrait  of  the  artist’s  grandfather.  From  a painting  by 
Wright  of  Derby. 

38.  Sarah  and  Anne  Haden.  D.  53. 

Trial  proof  before  lettering  or  signature. 

Twin  Daughters  of  Thomas  Haden  of  Derby. 

39.  Portrait  Sketch.  Unfinished  portrait  of  the  artist.  D.  54. 

Trial  proof  (a). 

40.  Newcastle  in  Emlyn.  D.  55. 

Published  state. 

41.  House  of  the  Smith.  D.  56. 

First  published  state.  On  Vellum. 

42.  Kenarth,  South  Wales.  D.  57. 

A.  Undescribed  trial  proof,  before  the  heavy  work  in  the 
trees. 

B.  Published  state. 

43.  Kilgaren  Castle.  D.  58. 

Published  state. 

44.  A Child’s  Head.  D.  59. 

Trial  proof  (b).  H. 

45.  Cardigan  Bridge.  D.  60. 

First  published  state. 


102 


46.  The  Fisherman.  D.  6i. 

A.  Trial  proof  (a). 

B.  First  published  state. 

47.  Penton  Hook.  D.  62. 

A.  Trial  proof  (b). 

B.  First  published  state.  The  tree  has  been  re -etched. 
From  Drake  collection. 

48.  The  Lovers^  Walk.  Second  plate.  H.  190. 

Trial  proof  (a). 

49.  Thames  Ditton — with  a Sail.  D.  64. 

Marked  ist  state ^ 75  impressions. 

50.  Railway  Encroachment.  D.  65. 

Published  state. 

51.  Brentford  Ferry.  D.  66. 

A.  Trial  proof,  before  the  strong  shadows  on  the  trees. 

B.  Impression  with  the  words  “ To  Whistler  ” in  upper 
left  corner. 

52.  The  Towing  Path.  D.  67. 

A.  First  state. 

B . Trial  proof  ( f ) , intermediate . H . The  lady  has  been 
taken  out,  but  no  second  dog  introduced  as  described  by 
Drake. 

Additional  work  throughout  the  plate. 

53.  Evening.  D.  68. 

First  published  state,  on  Japan  paper. 

54.  Shepperton.^  D.  72. 

First  published  state. 

55.  Kew  Side.  D.  73. 

Published  state,  on  Japan  paper. 


103 


56.  Isleworth.  D.  76. 

A.  Trial  (a),  on  Chinese  paper. 

B.  Trial  (b),  the  contour  of  the  arch  described  by  a 
single  line. 

57.  Kew  Ait.  D.  77. 

First  published  state. 

58.  Croquis  in  Burty^s  Garden.  D.  79. 

An  impromptu  sketch  to  show  M.  Burty  how  to  suggest  in 
etching  the  direction  of  the  growth  of  the  bark  of  a tree. 
First  state,  on  Chinese  paper.  Only  12  printed.  On  zinc. 

59.  Griff.^^  D.  80. 

Trial  proof  (a). 

A portrait  of  Charles  A.  Cole. 

60.  La  Belle  Anglaise.  D.  81. 

Trial  proof  (b).  From  the  Burty  collection.  A portrait 
of  one  of  the  daughters  of  the  Viscount  Ha  warden.  Of 
extreme  rarity,  being  a private  plate,  and  lacking  in 
almost  every  collection. 

61.  A River  in  Ireland.  D.  82. 

First  state,  only  12  impressions  taken. 

1865 

62.  Sunset  on  the  Thames.  D.  83. 

First  state. 

63.  Hands  Etching.  6 Taborum,  etc.,  D.  84. 

A.  First  state.  The  subject  is  traced  on  the  plate  in 
outline,  with  date  and  signature.  The  lettering  printed 
in  brown,  marked  ist.  On  Vellum.  From  Drake  col- 
lection. 

B.  Second  state. 


104 


64.  Hands  Etching.  The  second  plate.  H.  193. 

Trial  proof.  Below  the  subject:  O Taborum  Dulce 

Lenimen  * * * *.  No  date ; in  pencil : Hor.  ad  Lyram^ 
Seymour  Haden^  unique  impression. 

65.  Hands  Holding  a Crayon.  D.  85. 

Published  state. 

66.  Hands  Folded.  D.  86. 

Trial  proof  (a). 

Note  : The  last  four  plates  of  hands  were  done  as  head 
and  tail  pieces  for  Etudes  d Veau-forte. 

67.  The  Hay  Barge  and  the  Thames  at  Barnes.  H.  192. 

Trial  proof  (a). 

68.  Little  Calais  Pier.  D.  87.  « 

First  state. 

69.  Horsley ^s  House  at  Willesley.  D.  88. 

Trial  proof  (a).  H.  On  zinc. 

70.  Horsley’s  Roof.  D.  89. 

Published  state.  H. 

71.  Horsley’s  Cottages.  D.  90. 

Published  state. 

72.  Old  Willesley  House.  D.  91. 

Published  state. 

73.  Dog  and  Monkey.  D.  92. 

Trial  proof  (b).  Two  or  three  impressions  only. 


74.  Three  Sketches  of  Monkeys.  D.  93. 

Sketches  in  three  positions  of  the  monkey  represented 
in  last  above.  Kew,  June  4^  186^. 

Only  impression  from  the  plate  in  existence.  From 
Burty  and  Drake  collections.  Unique  S.  H. 

105 


75- 

‘^Puff.’^  Dog  asleep 
Published  state. 

on  a Chair. 

76. 

Twickenham  Church. 
Published  state. 

D.  95. 

77- 

Twickenham  Bushes. 
Trial  proof  (a). 

D.  96. 

78. 

The  Assignation.  D 

. 97. 

A.  Marked  undescribed  trial  proof ^ only  two  taken. 
Corresponds  to  H.  Trial  (b).  Kew  in  lower  left  cor- 
ner, but  without  the  signature  ; red  ink. 

B.  Published  state. 

79.  Old  Chelsea  Church.  D.  99. 

Trial  proof  (b).  * 

80.  Yacht  Tavern,  Erith.  D.  loi. 

A.  Marked  first  state.  On  vellum;  etched  on  zinc. 
Corresponds  to  H.  Trial  (b). 

B.  Trial  proof  (c). 

This  and  the  following  were  done  on  the  same  day  in 
company  with  Daubigny,  the  eminent  French  landscape 
painter. 

81.  Erith  Marshes.  D.  102. 

Published  state.  Ktched  on  zinc. 

82.  The  Moat  House.  D.  103. 

Trial  proof  (a). 

83.  Sonning  Alms  House.  D.  104. 

Trial  proof  (a).  Without  the  signatme. 

84.  Sonning  Bank.  D.  105. 

Trial  proof  (b),  in  preparation  for  second  state.  The 
figirre  in  middle  distance  on  the  right  has  been  removed 
leaving  a white  spot.  Plate  reduced. 

106 


85.  Harry  Kelly’s.  Putney.  D.  107. 

Published  state. 

86.  The  Feather’s  Tavern.  D.  108. 

First  state. 

87.  Thames  Side.  D.  109. 

First  published  state. 


80.  Sir  Seymour  Haden  : Yacht  Tavern,  Erith 


^8.  A Castle,  County  Wicklow.  D.  no. 

Published  state. 

89.  Topsail  Barges.  D.  in. 

Trial  proof  (a). 

90.  Bark  Refitting.  D.  112. 

A.  Trial  proof  (a).  From  Drake  collection. 

B.  Trial  proof  (b). 


107 


i868 


gi.  Firs — A Study.  D.  113. 

Published  state. 

92.  Mount^s  Bay.  D.  114. 

A.  Marked  Trial  proof  (b)  touched.  From  Drake  col- 
lection. 

B.  Trial  proof  (c). 

“This  was  the  first  plate  etched  wholly  in  the  bath.” 

93.  The  Herd.  D.  115. 

Fine  early  impression,  before  the  impressions  were  printed 
for  Sonnets  et  Eaux-fortes. 

94.  The  Three  Sisters.  D.  116. 

First  published  state. 

“This  and  the  preceding  were  done  in  an  old  chase  in 
which  is  a hunting,  lodge  which  belonged  to  the  Duke 
of  Northumberland  and  which  before  the  reform  bill  re- 
turned five  members  to  Parliament ! It  is  one  of  the 
finest  of  our  English  parks.  ’ ’ 

95.  The  Little  Pool.  H.  196. 

Published  state. 

96.  A River  Side — Devon.  D.  117. 

Published  state. 

97.  The  Turkish  Bath  — With  Two  Figures.  D.  118. 

Published  state. 

98.  The  Turkish  Bath — With  One  Figure.  D.  119. 

First  published  state. 

“Though  called  the  Turkish  Bath,  this  and  the  preced- 
ing are  only  studies  of  shampooers.” 

99.  Battersea  Bridge.  D.  120. 

A.  First  published  state. 

B.  Third  state.  From  Drake  collection . 

108 


lOO. 


1869 

The  Island,  Boyle^s  Farm.  D.  121. 

First  state. 

101.  The  Inn,  Purfleet.  D.  122. 

A.  The  first  impression  taken  from  the  plate,  retouched 
by  the  artist.  From  Drake  collection. 

B.  First  published  state. 

C.  Center  portion  of  the  plate,  2>U  ^ 10  in.  From 
Drake  collection. 

“A  very  fair  rendering  of  the  Thames  below  Ton  don.” 

102.  Opposite  The  Inn,  Purfleet.  D.  123. 

Published  state. 

103.  A Likely  Placs  for  Salmon.  D.  124. 

A.  Marked  Trial  (a),  but  right  foreground  is  nearly 
clear  and  fisherman  is  in  bold  relief.  A second  figure 
leans  over  the  rock  with  a gaff.  Touched  with  pencil. 

B.  First  published  state. 

104.  Ludlow  Castle.  D.  125. 

Trial  proof  (a). 

105.  Whitfield  Yew.  D.  126. 

Trial  proof  (b). 

1870 

106.  The  Two  Sheep.  D.  127. 

Trial  proof  (c). 

107.  Breaking  Up  of  the  Agamemnon.  The  first  plate.  D.  128. 

First  published  state.  On  Whatman  paper. 

One  of  the  artist’s  most  popular  plates. 

108.  Iffley  Mill.  D:  129. 

Trial  proof  (c). 

109.  A Brig  at  Anchor.  D.  130. 

Trial  proof  ( a ) . 


109 


1 873 

no.  Sawley  Abbey.  D.  131. 

A.  Trial  proof  (b),  with  dogs  and  reeds  in  the  fore- 
ground. Marked  Two  only. 

B.  Marked  First  state^  but  the  right  and  middle  fore- 
ground are  bare. 

111.  By  Inveroran.  D.  132. 

Trial  proof  (b).  H. 

1 12.  Scotch  Firs,  Inveroran.  D.  133. 

A.  Trial  proof  (a).  On  zinc. 

B.  Published  state.  The  mountain  taken  out. 

1 13.  The  Amstel,  a Memorandum.  D.  134. 

Second  state. 

‘ ‘ From  a window  in  the  Amstel  Hotel  at  Amsterdam . ’ ’ 

1874 

1 14.  The  Mill  Wheel.  D.  136. 

A.  First  state.  A few  only  taken. 

B.  Second  state. 

1 15.  Harlech.  D.  137. 

The  Etching.  Only  twelve  were  printed. 

1 16.  An  Essex  Farm.  D.  138. 

First  state.  Zinc. 

117.  The  Boat  House.  D.  139. 

Trial  proof  (c).  H. 

118.  Calais  Pier.  D.  140. 

From  the  painting  by  Turner  in  the  National  Gallery. 
Executed  for  mezzotint,  but  being  carried  beyond  the 
point  necessary  for  that  purpose  it  was  published  as  an 
etching.  The  largest  of  the  artist’s  works.  Trial  proof, 
intermediate  between  first  and  second  states. 


no 


iig.  Pool  Dornie.  D.  141. 

First  published  state.  H. 

1877 

120.  Hand  Painting.  D.  142. 

Trial  proof  (a). 

1 21.  Hands  Dry-Pointing.  D.  143. 

Trial  proof  (b). 

122.  Winchelsea  Canal.  D.  144. 

Mezzotint. 

123.  Divergent  Paths.  D.  145. 

Trial  proof  (c).  H. 

124.  Windmill  Hill  (No.  i).  D.  146. 

First  published  state. 

125.  Windmill  Hill  (No.  2).  D.  147. 

Trial  proof  (b). 

126.  Windmill  Hill  (No.  3).  D.  148. 

Trial  proof  (a). 

This  and  the  two  preceding  plates  were  done  on  the 
same  day.  Windmill  Hill  is  a high  common  near 
Swanage  in  Dorsetshire  which  long  served  as  a landmark 
for  vessels  at  sea. 

127.  Ye  Compleat  Angler.  D.  149. 

A.  Marked  Undescribed  early  state.  Before  published 
state. 

B.  Counterproof  marked  Trial  Reverse,  Jan.  6,  1878  ; 
of  trial  (b). 

Published  in  Hamerton’s  Etching  and  Etchers ; 3d 
Ed.,  1880. 


Ill 


128.  Nine  Barrow  Down.  D.  150. 

Published  state. 

129.  The  Keep.  D.  151. 

Second  state.  H. 

130.  The  Sluice.  D.  152. 

Published  state. 

131.  The  Cabin.  D.  153. 

Published  state. 

132.  The  Castle  Bridge.  D.  155. 

Trial  proof  (b).  H. 

133.  Swanage  Bay.  D.  156. 

Published  state. 

134.  Newton  Manor.  D.  157. 

Published  state. 

135.  Challow  Farm.  D.  158. 

Trial  proof  (b)  marked  Undescribed  state.  H. 

136.  Wareham  Bridge.  D.  159. 

Undescribed  trial  before  first  published  state.  After 
H trial  (d). 

137.  The  Little  Boathouse.  D.  160. 

Trial  proof  (a). 

138.  A Backwater.  D.  161. 

A.  Trial  proof  (c).  H. 

B.  Three  large  ducks  sitting  have  been  introduced  in 
the  foreground.  First  state.  H. 

139.  Sketch  at  the  back  of  a Zinc  Plate.  D.  162. 

Trial  proof  ( b ) . H . 


112 


140. 


The  Three  Cows.  D.  163. 

A.  Trial  proof  (c).  Two  cows  only.  H. 

B.  Trial  proof  (d).  A third  cow,  grazing,  has  been 
introduced  in  the  middle  ground  on  the  right. 

141.  The  Willows.  D.  164. 

A.  Trial  proof  (a). 

B.  First  state.  With  two  lambs  lying  among  bram- 
bles in  left  foreground.  H. 


135.  Sir  Seymour  Haden  : Challow  Farm 


142.  Dusty  Millers.  D.  165. 

Trial  proof  (a). 

143.  Barbel  Fishing.  D.  166. 

Published  State. 

144.  The  Vicarage.  D.  167. 

Trial  proof  (a). 


145-  Grim  Spain.  D.  i68. 

Published  state. 

Published  in  Wedmore’s  “Four  Masters  of  Etching.’’ 
One  of  the  Moorish  gateways  of  the  Castle  at  Burgos. 
The  bones  of  the  English  besiegers  of  Brurgos  under 
Wellington  still  lie  unburied  around  the  town. 

146.  The  Fountain,  Cintra.  D.  169. 

Marked  Trial  (a). 

“ This  fountain  stands  at  the  entrance  to  the  palace  of 
Montserrat  in  which  Byron  wrote  Childe  Harold.” 

147.  The  Tank,  Cintra.  D.  172. 

Trial  proof  (a). 

148.  Outside  the  Cork  Convent,  Cintra.  D.  174. 

Published  state. 

149.  Inside  the  Cork  Convent,  Cintra.  D.  175. 

Published  state. 

150.  Saint  Francis,  A Monk  Praying.  D.  185. 

First  published  state. 

15 1.  The  Monk  at  the  Fountain.  H.  200. 

Trial  proof  (a). 

1878 

152.  Thames  Fishermen.  D.  182. 

A repetition  of  No.  4 with  changes  in  the  form  of  the 
trees  on  the  left  bank. 

Trial  proof  (a ) . 

153*  Windsor.  D.  183. 

Marked  Trial  proofs  last  before  published  state^  S.  H. 
Corresponds  to  H.  trial  (b). 

114 


154*  The  House  by  the  Sea.  D.  176. 

A.  Trial  proof  (b).  H. 

B.  First  state. 

Done  during  a lecture  at  the  Royal  Institution. 

155.  The  Amstel.  D.  177. 

First  published  state. 

Done  during  a lecture  at  the  Royal  Institution. 


159.  Sir  Seymour  Haden  : Greenwich 


156.  The  Hedgerow.  D.  178. 

First  state. 

157.  The  Turret.  D.  179. 

Published  'state. 

158.  Three  Tree  Farm.  D.  181. 

Published  state. 


159-  Greenwich.  D.  184. 

Trial  proof  (a).  A superb  impression.  (Illustration, 
page  1 15.) 

1880 

160.  Harlech,  Mezzotint.  The  second  plate.  H.  207. 

Same  subject  as  No.  115  reversed. 

A.  Trial  proof  (a).  Marked  First  impression  from 
plate, 

B.  Published  state. 

1881 

1 61.  The  Minister's  Horse.  H.  209. 

Trial  proof  (a). 

162.  A Lancashire  River.  H.  210. 

First  state.  Seymour  Haden  to  Frederick  H.  James. 
Esq.^  July ^ 1 88s  ^ 'U)ith  best  compliments.  Before  the 
numbered  impressions. 


163. 

The  Village  Ford.  H.  21 1. 
Second  state. 

1882 

164. 

Cowdray  Castle  — with  Cows. 
Published  state. 

H.  215. 

165. 

Cowdray  Castle  — with  Geese. 
Published  state. 

H.  216. 

166. 

The  Three  Calves.  H.  217. 
Published  state. 

167. 

Encombe  Woods,  No.  i.  H.  213. 
First  published  state. 

168. 

The  Four  Cows.  H.  218. 

Marked  Trial  (a). 


116 


i6g.  The  Test  at  Longparish.  H.  219. 

Published  state. 

170.  The  Latest  Tree.  H.  220. 

First  published  state. 

1886 

1 71.  Breaking  up  of  the  Agamemnon.  Second  plate.  H.  223. 

A.  Trial  proof  (b). 

B.  Mezzotint. 


162.  Sir  Seymour  Haden  ; A Lancashire  River 

1896 

172.  The  Little  Longparish.  H.  228. 

Trial  proof  (a). 

1897 

173.  An  Early  Riser.  H.  231. 

Mezzotint.  First  published  state. 

Exhibited  at  Painter-Etchers  Society,  1897.  (Illustra- 
tion, page  1 18. 


174-  Grayling  Fishing.  H.  232. 

Mezzotint.  First  published  state. 

Exhibited  at  Painter-Etchers  Society,  1897. 

175.  A Moorland  Stream.  H.  233. 

Mezzotint.  First  state  retouched  with  pencil.  Only 
two  or  three  impressions  printed.  Marked  on  back 
A Moorland  stream  afterwards  altered  to  Haunt  of 
Mosquito.  A scientific  plate ^ Seymour  Haden. 


173.  Sir  Seymour  Haden  : An  Early  Riser 


1898 

176.  The  Mouth  of  the  Thames.  H.  239. 

After  Turner.  Mezzotint. 

First  impression  from  the  plate,  touched. 

177.  Cup  and  Saucer.  Drawing.  Authenticated  by  the  artist. 

December  9,  1858. 


118 


178.  A Wine  Glass.  Drawing.  Authenticated  by  the  artist. 

179.  The  Colosseum.  Done  in  Rome  in  the  winter  of  1843-4. 

Drawing.  Authenticated  by  the  artist. 


PART  III 


ETCHINGS,  WOOD-ENGRAVINGS,  Etc. 


ETCHINGS  PRESENTED  BY  FREDERICK  KEPPEE,  Esq. 

JEAN  FRANgOIS  MILLET. 

180.  The  Wool  Carder. 

181.  Woman  Knitting. 

JAMES  A.  McNEILL  WHISTLER. 

182.  Bibi  Ealouette. 

183.  Ea  Vieille  aux  Eoques. 

PRESENTED  BY  MRS.  FREDERICK  H.  JAMES. 

JAMES  A.  McNEILL  WHISTLER. 

184.  Billingsgate  (1859). 

ADOLPHE  APPIAN. 

185.  Au  val  Romey  (i860). 

MAXIME  LALANNE. 

186.  Landscape.  Artist’s  proof  on  india  paper.  Signed. 

PAUL  RAJON. 

187.  Ee  Plan,  after  Edouard  Detaille  (1869). 

188.  Portrait  of  Raj  on  (very  rare). 

189.  Ee  Graveur.  Portrait  of  Meissonier  fils  (1869). 

190.  Portrait  of  Meissonier  — After  Meissonier ’s  portrait  of 
himself.  (Rare  early  proof  before  the  inscription 
above  the  name  of  Meissonier. — From  Raj  on’s  Col- 
lection. ) 

191.  Portrait  of  John  Stuart  Mill,  after  George  F.  Watts, 

R.  A. 

192.  Portrait  of  Victor  Hugo,  after  Bonnat’s  Painting, 
which  received  an  award  at  the  Paris  Salon  of  1879. 
Proof,  out  of  print. 


120 


J.  LUMSDEN  PROPERT. 

193.  Twickenham.  (Only  100  impressions  taken.  Signed 
Artist’s  proof. ) 

194.  Margate. 

195.  Sunset,  Romney  Marsh.  (Only  100 impressions  taken. 
Plate  destroyed. ) 

196.  Sunset,  Venice. 

197.  North  wick  Pool. 

198.  Terreborne. 

C.  STORM  VAN  S’GRAVESANDE. 

199.  Au  Bord  du  Glin,  pres  Abconde.  (The  smaller  plate.) 

CHARLES  WALTNER. 

200.  Christ  Before  Pilate.  After  Munkacsy.  Unique  trial 
proof. 


WOOD  ENGRAVINGS  PRESENTED  BY  MR.  PHILIP 
SHERWOOD  SMITH,  BUFFALO. 

HENRY  WOLF,  New  York. 

XI.  Le  Crepuscule.  After  Alexander  Harrison. 

X 2.  Virgin  Enthroned.  After  Abbott  H.  Thayer. 

X 3.  Palace  of  Fine  Arts,  Chicago  Exposition.  After 
Andre  Castaigne. 

X 4.  Fox  Hunt.  After  Winslow  Homer. 

X 5.  La  Bernoise.  After  Dagnan-BouvereL 
X 6.  Portrait  of  a Boy.  After  Brush. 

X 7.  Les  Amoreuses.  After  Diaz. 

X 8.  Canal,  Artoise.  After  Cazin. 

X 9.  Evening  Star.  Original  engraving. 

X 10.  Romola.  After  Sara  G.  Sears. 

X II.  View  on  the  Seine.  After  Homer  Martin. 

X 12.  Wood  Gatherers.  After  George  Inness. 

X 13.  Landscape.  After  A.  H.  Wyant. 


121 


X 14.  Oxen  Drinking.  After  Horatio  Walker. 

X 15.  A Quiet  Hour.  After  J.  W.  Alexander. 

X 16.  The  Morning  Star.  Original  engraving. 

X 17.  The  Bent  Tree.  After  Corot. 

X 18.  Little  Lady  Sophie  of  Soho.  After  Whistler. 

X 19.  A Spanish  Lady.  After  Fortuny. 

X 20.  Portrait  of  a Lady.  After  Irving  R.  Wiles. 

X 21.  Portrait  of  Mrs.  Creelman.  After  J.  J.  Shannon. 

(The  above  are  the  engraver’s  finest  proofs,  printed  on 
Chinese  paper. ) 


122 


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